Call for Papers
Ethnoscapes: An Interdisciplinary Journal on Race and Ethnicity in the
Global Context
Issue One, Fall 2007
“Race and Coalition”
The editorial staff of the new peer-reviewed journal Ethnoscapes: An
Interdisciplinary Journal on Race and Ethnicity in the Global Context
invites submissions for its inaugural issue on the subject of “Race and
Coalition.” Ethnoscapes maps the development of important themes in the
field of race and ethnic studies by using a “classic” piece as a point of
departure for a reconsideration of critical issues within the contemporary
economic, political, and cultural terrain.
While the classic piece establishes the thematic parameters of each issue,
authors are under no obligation to actively engage the arguments posed by
that work.
Issue one explores the subject of “Race and Coalition” with consideration
of Stokely Carmichael (Kwame Ture) and Charles V. Hamilton’s “The Myths of
Coalition” from the 1967 text Black Power: The Politics of Liberation. In
this seminal essay, the authors question the viability of coalitions that
do not seek radical changes in racial hierarchy, include partners with
disparate amounts of economic and political power, and rely on
sentimentality and goodwill to build and maintain cohesiveness.
The authors argue instead that viable and productive coalitions must do
the following:
1) recognize the self-interests of the groups involved in the relationship;
2) have the capacity for realizing the self-interests of each group;
3) articulate their own “independent base of power”;
4) have specific goals.
Proceeding from this articulation of coalition politics, Ethnoscapes seeks
manuscripts that investigate the dynamics of “Race and Coalition” with
particular attention to one or more of the following themes:
A) Theoretical Foundations of Coalition. If organizing is no longer forged
on the basis of shared identity or “unity,” what serves as the
“foundation” for political mobilization? What new forms of coalition,
alliance, or issue-based organizing have emerged in the current political,
economic, and cultural context? Can these convergences operate only
temporarily or can they be more sustained? How can/must/do coalitions
negotiate differences along the lines of gender, sexuality, nationality,
religion, and class in articulating a shared platform? What productive
alliances have been or can be forged between different marginalized
groups? What makes these coalitions cohere? How do these projects
(re)shape experiences of race and ethnicity?
B) The Multicultural Terrain of Organizing in the United States. With the
rise of Asian/Pacific American and Latino/a social movements, how is the
concept of “coalition” being rearticulated today? Does the “people of
color” construct, expressing the common bonds of non-white groups, still
make sense? What new challenges to coalition-building emerge in the
context of the variable power relations of nations, economic operations,
and discourse that characterize the contemporary multiracial terrain of US
organizing? What strategies can be mobilized to negotiate these
differences? What roles are available to whites in multiracial coalitions
and in coalitions for racial justice?
C) The Global Context. What challenges and possibilities do new
communications and other technologies linking people across the globe
offer for multiracial coalitions? How do the ties of nation, state, and
culture complicate efforts to organize pan-ethnically? How can models of
organizing around race throughout the world, or on behalf of racially
identified groups and concerns, usefully inform organizing strategies in
the US context, or vice versa? What is at stake and where are we headed?
The deadline for manuscript submission is February 16, 2007. Please send
submissions to mmaltry@kirwaninstitute.org and
editors@kirwaninstitute.org. See
http://www.kirwaninstitute.org/ethnoscapes/styleguide.html to prepare your
document in accordance with the style guidelines of Ethnoscapes.
Melanie Maltry
Assistant Editor, Ethnoscapes
The Kirwan Institute
The Ohio State University
________________________________
Wednesday, November 15, 2006
Friday, September 22, 2006
Using diaries for social research
Alaszewski, Andy.
Using diaries for social research / Andy Alaszewski.
London ; Thousand Oaks, CA : SAGE, c2006.
Bibliography Includes bibliographical references (p. [123]-130) and index.
Subject Social sciences -- Research -- Methodology.
ISBN 0761972900 (cased)
0761972919 (pbk.)
Using diaries for social research / Andy Alaszewski.
London ; Thousand Oaks, CA : SAGE, c2006.
Bibliography Includes bibliographical references (p. [123]-130) and index.
Subject Social sciences -- Research -- Methodology.
ISBN 0761972900 (cased)
0761972919 (pbk.)
Tuesday, July 11, 2006
Documentary Cookbook
Here are some tips from the UC Berkeley School of Journalism's Documentary Cookbook. They are shooting for making a broadcast documentary for 100,000 an hour -- still its interesting.
------------
BASIC APPROACH
"Make films, not proposals:"
If you have lots of money, don't do this.
1. As expected, most of the lessons learned so far are bone head obvious, and boil down to very disciplined, simple "preventive production." To really be serious about finding projects on which you can lower cost without lowering quality, here's what you need to do, in order of cost efficiency:
2. Choose the right story. Find stories that naturally lend themselves to low cost, not stories which will be compromised with short funding. Thin Blue Line, Gimme Shelter, , Mark Twain, The Cockettes, and Long Night's Journey Into Day will always cost at least a half million dollars.
3. Back into it. Reverse the idea/funding process. Find stories and techniques that can be done with the money readily available, not with money which might someday be available.
4. Exercise Discipline. Be extremely careful and consistent at every stage of planning and production. Make the project all muscle, no fat. Obviously, this favors pre-conceptualized projects and handicaps discovery.
5. Use small format digital video. Use DV/DVCam as starting point to reduce cost from ground up. Small format digital video is to us as 16mm was to cinema verite or 4-track recorders were to rock and roll.
6. Exercise consistent technical protocol. Get video and audio close to right in the field, and do not plan to fix anything in the mix or on-line. Small format video demands more technical care than large format.
6. Pay professionals their going rates. Control personnel costs by adjusting time, not rates. Reconfigure what you do, not how much you pay for it.
7. Use experienced craftspeople at all levels, especially in audio and assistant editing.
8. Avoid air travel. Is there no good film to be made within 100 miles of home? .
9. Make the film quickly. Production and editorial schedules that minimize person-days are big levers for cost reduction. Set rough cut and lock picture deadlines, and meet them no matter what. This favors experienced filmmakers working with strong fallback narrative structures.
10. Maintain a clear decision flow. The producer/director is in charge. The production unit must be a community, but not a democracy. Fine-tune the filtering of ideas to flow from community to director to editor in orderly fashion. Delays in executive signoff (if there is an executive) can be catastrophic.
11. "FIDO" "Fuck it and drive on." Choose a story in which a few missing pieces or clunky moments will go unnoticed, so that you can always maintain forward motion. Never bog down, and never miss a deadline, no matter what.
12. Avoid on-line assembly, out of house, by working on an editing system which directly outputs high-resolution video. Do not color correct the show yourself.
13. Use high-end facilities for sound finishing and color correction after extremely careful field origination and editorial prep.
14. Do not use outside archive material, only home movies, personal photos, documents for which you own all rights in perpetuity, and fair use material for which you can make a clearly and obviously defensible case for fair use.
15. Do not use outside music, only music internally produced, for which you own rights in perpetuity; music rights may be non-exclusive.
16. Avoid hidden administrative cost, of music, archive footage, and stills. The admin time, paperwork, research, provenance search, and E&O costs can match license fees.
17. Avoid live performance under trade union jurisdiction [sic*], where fees and hidden administrative costs may be excessive. [* Here we might wonder if this contradicts 6 and 7- DM]
Avoid fundraising, beyond the bare minimum necessary to get the project done. The fundraising process itself mounts its own enormous costs---sample reels, office expense, producer time, spun budgets, spun proposals.
These suggested methods clearly apply only to a small number of documentaries and a small number of filmmakers. And finally:
Make a high quality film, and then sell it to the highest bidder. "HBO is not going to broadcast a show simply because it cost $100,000. Nobility is not part of the mix," says Pete Nicks
Visit the DOCUMENTARY COOKBOOK for more about their project.
------------
BASIC APPROACH
"Make films, not proposals:"
If you have lots of money, don't do this.
1. As expected, most of the lessons learned so far are bone head obvious, and boil down to very disciplined, simple "preventive production." To really be serious about finding projects on which you can lower cost without lowering quality, here's what you need to do, in order of cost efficiency:
2. Choose the right story. Find stories that naturally lend themselves to low cost, not stories which will be compromised with short funding. Thin Blue Line, Gimme Shelter, , Mark Twain, The Cockettes, and Long Night's Journey Into Day will always cost at least a half million dollars.
3. Back into it. Reverse the idea/funding process. Find stories and techniques that can be done with the money readily available, not with money which might someday be available.
4. Exercise Discipline. Be extremely careful and consistent at every stage of planning and production. Make the project all muscle, no fat. Obviously, this favors pre-conceptualized projects and handicaps discovery.
5. Use small format digital video. Use DV/DVCam as starting point to reduce cost from ground up. Small format digital video is to us as 16mm was to cinema verite or 4-track recorders were to rock and roll.
6. Exercise consistent technical protocol. Get video and audio close to right in the field, and do not plan to fix anything in the mix or on-line. Small format video demands more technical care than large format.
6. Pay professionals their going rates. Control personnel costs by adjusting time, not rates. Reconfigure what you do, not how much you pay for it.
7. Use experienced craftspeople at all levels, especially in audio and assistant editing.
8. Avoid air travel. Is there no good film to be made within 100 miles of home? .
9. Make the film quickly. Production and editorial schedules that minimize person-days are big levers for cost reduction. Set rough cut and lock picture deadlines, and meet them no matter what. This favors experienced filmmakers working with strong fallback narrative structures.
10. Maintain a clear decision flow. The producer/director is in charge. The production unit must be a community, but not a democracy. Fine-tune the filtering of ideas to flow from community to director to editor in orderly fashion. Delays in executive signoff (if there is an executive) can be catastrophic.
11. "FIDO" "Fuck it and drive on." Choose a story in which a few missing pieces or clunky moments will go unnoticed, so that you can always maintain forward motion. Never bog down, and never miss a deadline, no matter what.
12. Avoid on-line assembly, out of house, by working on an editing system which directly outputs high-resolution video. Do not color correct the show yourself.
13. Use high-end facilities for sound finishing and color correction after extremely careful field origination and editorial prep.
14. Do not use outside archive material, only home movies, personal photos, documents for which you own all rights in perpetuity, and fair use material for which you can make a clearly and obviously defensible case for fair use.
15. Do not use outside music, only music internally produced, for which you own rights in perpetuity; music rights may be non-exclusive.
16. Avoid hidden administrative cost, of music, archive footage, and stills. The admin time, paperwork, research, provenance search, and E&O costs can match license fees.
17. Avoid live performance under trade union jurisdiction [sic*], where fees and hidden administrative costs may be excessive. [* Here we might wonder if this contradicts 6 and 7- DM]
Avoid fundraising, beyond the bare minimum necessary to get the project done. The fundraising process itself mounts its own enormous costs---sample reels, office expense, producer time, spun budgets, spun proposals.
These suggested methods clearly apply only to a small number of documentaries and a small number of filmmakers. And finally:
Make a high quality film, and then sell it to the highest bidder. "HBO is not going to broadcast a show simply because it cost $100,000. Nobility is not part of the mix," says Pete Nicks
Visit the DOCUMENTARY COOKBOOK for more about their project.
Wednesday, July 05, 2006
FILM: Urbanscapes
'Urbanscapes,' a Documentary on the Decaying of Neighborhoods
NYT
By NATHAN LEE
Published: July 5, 2006
"Urbanscapes" plants a camera in neighborhoods gone to seed, cultivating a bittersweet portrait of American ruin...
NYT
By NATHAN LEE
Published: July 5, 2006
"Urbanscapes" plants a camera in neighborhoods gone to seed, cultivating a bittersweet portrait of American ruin...
Thursday, June 29, 2006
A Gathering of the Tribes
Visit the A Gathering of the Tribes website to see the gallery's schedule, read their online poetry journal, check out the newest publications from their press and much more...
Monday, June 26, 2006
Engaging ethnography in tourist research
CALL FOR PAPERS: Special issue of Tourist Studies
Engaging ethnography in tourist research
For quite some time, anthropologists (and other social scientists who use qualitative methodologies) have struggled to find research strategies to deploy when studying tourists and tourism. Ethnographic methodology which relies on prolonged interaction with research participants can be problematic. How does a researcher sustain such contact with highly mobile tourists? But other problems arise as well. All too often, for example, interpretive analyses of tourism media do not take into account how tourists, locals, and others actually use the materials, or ignore the affective outcomes of tourist discourses. Nor do they acknowledge the complexities of engaging meaningfully with subjects who are both transient and reticent to be distracted from their pursuit of pleasure. Ethnographic methodology demands that the researcher make sense of these realities through painstaking attention to social and cultural context that is always complex and messy. Quick in and out won't suffice, yet nor will standard ethnographic practice. Fresh approaches must be devised. Papers could address questions such as: How does a researcher position themselves as being something other than a tourist? Does multi-sited ethnography offer a useful model here? Do the research strategies and analytical frameworks of visual anthropology offer particular guidance? Does the earnestness of ethnography need modification to fully capture the experience of 'fun' and 'leisure'? Does the experiential moment of touristic encounter provide the richest ethnographic context for research? Selected papers on ethnographic methodology and the study of tourists and tourism will be refereed for publication in a special issue of Tourist Studies. Submissions must address methodological concerns, ideally highlighting innovative and adaptive approaches, but fundamentally grounded in the basic parameters of ethnographic research. We are particularly interested in papers which highlight the tensions and linkages in such research between methodological practice, ethics and theory, and which explore the dialectic between touristic phenomenon and ethnographic praxis.
Please send a 250-word abstract to Julia Harrison (jharrison@trentu.ca) and Susan Frohlick (frohlick@ms.umanitoba.ca) by August 31, 2006. Full papers will be needed by October 15, 2006.
Engaging ethnography in tourist research
For quite some time, anthropologists (and other social scientists who use qualitative methodologies) have struggled to find research strategies to deploy when studying tourists and tourism. Ethnographic methodology which relies on prolonged interaction with research participants can be problematic. How does a researcher sustain such contact with highly mobile tourists? But other problems arise as well. All too often, for example, interpretive analyses of tourism media do not take into account how tourists, locals, and others actually use the materials, or ignore the affective outcomes of tourist discourses. Nor do they acknowledge the complexities of engaging meaningfully with subjects who are both transient and reticent to be distracted from their pursuit of pleasure. Ethnographic methodology demands that the researcher make sense of these realities through painstaking attention to social and cultural context that is always complex and messy. Quick in and out won't suffice, yet nor will standard ethnographic practice. Fresh approaches must be devised. Papers could address questions such as: How does a researcher position themselves as being something other than a tourist? Does multi-sited ethnography offer a useful model here? Do the research strategies and analytical frameworks of visual anthropology offer particular guidance? Does the earnestness of ethnography need modification to fully capture the experience of 'fun' and 'leisure'? Does the experiential moment of touristic encounter provide the richest ethnographic context for research? Selected papers on ethnographic methodology and the study of tourists and tourism will be refereed for publication in a special issue of Tourist Studies. Submissions must address methodological concerns, ideally highlighting innovative and adaptive approaches, but fundamentally grounded in the basic parameters of ethnographic research. We are particularly interested in papers which highlight the tensions and linkages in such research between methodological practice, ethics and theory, and which explore the dialectic between touristic phenomenon and ethnographic praxis.
Please send a 250-word abstract to Julia Harrison (jharrison@trentu.ca) and Susan Frohlick (frohlick@ms.umanitoba.ca) by August 31, 2006. Full papers will be needed by October 15, 2006.
Tuesday, May 23, 2006
poetswest
poetswest
PoetsWest, the gateway to on-line information about poets and poetry in the Pacific Northwest. On this site you will find a directory of Who's Who in Northwest poetry, rotating selections of poetry, reviews of poetry, information on special public poetry performances, venues with regularly scheduled poetry readings, poetry books and CDs, and links to selected poetry resources.
PoetsWest, the gateway to on-line information about poets and poetry in the Pacific Northwest. On this site you will find a directory of Who's Who in Northwest poetry, rotating selections of poetry, reviews of poetry, information on special public poetry performances, venues with regularly scheduled poetry readings, poetry books and CDs, and links to selected poetry resources.
Friday, May 19, 2006
Another future : poetry and art in a postmodern twilight
New Book from Weseleyan University Press
Another Future
Poetry and Art in a Postmodern Twilight
Gilbert, Alan
“As the theoretical bubble bursts, Alan Gilbert brings us back to the attention poetry demands, with its local nuances, terms, and conditions. With referential breadth and political acuity, Another Future deftly traces cultures in the making within the confines of social space.” -- Ammiel Alcalay, author of From the Warring Factions
What’s next for contemporary poetry?
How do we write and think about poetry and visual art in the wake of postmodernism? Questions like this are central to poetry and art, especially when taught within an academic context. Another Future is a collection of critical essays on contemporary poetry, art, culture, and politics that investigates the current state of these fields by bringing together writings on the work of a number of poets and visual artists. Reading the social poetically and poetry socially, Gilbert illuminates poetic and artistic practices in the present and creates a new discourse for thinking beyond postmodernism. Both meticulous and comprehensive, Another Future makes an important contribution to the critical discussion of contemporary poetry and cultural aesthetics.
Essays cover authors, artists, and topics such as the Barbie Liberation Organization, Anselm Berrigan, Brenda Coultas, documentary aesthetics, Benjamin Friedlander, globalization, Andreas Gursky, Renee Gladman, Kevin Killian, David LaChapelle, Harryette Mullen, Mark Nowak, Keith Piper, pirate radio, “post-black” art, Martha Rosler, Edward Sanders, Andrew Schelling, Allan Sekula, September 11th, Prageeta Sharma, Roberto Tejada, Lorenzo Thomas, Anne Waldman, and the Zapatistas.
“Gilbert is brilliant. With a clear and intelligent prose style that is intellectually rigorous and jargon-free, he has found a vital and useful vocabulary with which to describe and investigate what's really new in North American poetry.”—Peter Gizzi, author of Some Values of Landscape and Weather
TABLE OF CONTENTS
Introduction • PART 1: CONSIDERING HOW MATERIAL DOCUMENTS CAN BE • The Present Versus (the) Now • Sound Mappings: free103point9’s Constructive Engagement • Anne Waldman Changing the Frequency • The Information of Art: A Martha Rosler Retrospective • Fade to Black: Kevin Killian’s Argento Series • The Costs of Style: Harryette Mullen and Freestyle • Adding Up to Plural: On the Work of Roberto Tejada • Poetry As Document, or The Y2K Problem Is the Illusion of Starting at Zero • Form and Culture • PART TWO: TERRITORIES AND OTHER FORMS OF KNOWING • re:Reading the Active Reader Theory • Poetic Ethnography: Mark Nowak’s Revenants • “There’s no center where / similarity would begin”: C.S. Giscombe’s Giscome Road and Here • A Global View: Andreas Gursky at Matthew Marks Gallery • Ghost Stories: Renee Gladman’s Juice • Poetry and Reportage: Andrew Schelling’s The Road to Ocosingo • What Are the Alternatives?—Lorenzo Thomas’ Extraordinary Measures, for Example • PART THREE: MEANING POLITICS WITHOUT REGRETS • “Startling and Effective”: Writing Art and Politics after 9/11 • Countercultural Studies: Edward Sanders’ 1968: A History in Verse • Shine a Dark Light on It: Benjamin Friedlander’s A Knot Is Not a Tangle • Picking Up the Diasporic Pieces: Keith Piper at the New Museum • “How Soon Is Now?”: Anselm Berrigan, Prageeta Sharma, Greg Fuchs, Magdalena Zurawski, and the New Independents • Building Locations: Recent Work by Ben Polsky • Musical Chairs in Public Spaces: Brenda Coultas’ The Bowery Project • Acknowledgments • Bibliography • Index
Another Future
Poetry and Art in a Postmodern Twilight
Gilbert, Alan
“As the theoretical bubble bursts, Alan Gilbert brings us back to the attention poetry demands, with its local nuances, terms, and conditions. With referential breadth and political acuity, Another Future deftly traces cultures in the making within the confines of social space.” -- Ammiel Alcalay, author of From the Warring Factions
What’s next for contemporary poetry?
How do we write and think about poetry and visual art in the wake of postmodernism? Questions like this are central to poetry and art, especially when taught within an academic context. Another Future is a collection of critical essays on contemporary poetry, art, culture, and politics that investigates the current state of these fields by bringing together writings on the work of a number of poets and visual artists. Reading the social poetically and poetry socially, Gilbert illuminates poetic and artistic practices in the present and creates a new discourse for thinking beyond postmodernism. Both meticulous and comprehensive, Another Future makes an important contribution to the critical discussion of contemporary poetry and cultural aesthetics.
Essays cover authors, artists, and topics such as the Barbie Liberation Organization, Anselm Berrigan, Brenda Coultas, documentary aesthetics, Benjamin Friedlander, globalization, Andreas Gursky, Renee Gladman, Kevin Killian, David LaChapelle, Harryette Mullen, Mark Nowak, Keith Piper, pirate radio, “post-black” art, Martha Rosler, Edward Sanders, Andrew Schelling, Allan Sekula, September 11th, Prageeta Sharma, Roberto Tejada, Lorenzo Thomas, Anne Waldman, and the Zapatistas.
“Gilbert is brilliant. With a clear and intelligent prose style that is intellectually rigorous and jargon-free, he has found a vital and useful vocabulary with which to describe and investigate what's really new in North American poetry.”—Peter Gizzi, author of Some Values of Landscape and Weather
TABLE OF CONTENTS
Introduction • PART 1: CONSIDERING HOW MATERIAL DOCUMENTS CAN BE • The Present Versus (the) Now • Sound Mappings: free103point9’s Constructive Engagement • Anne Waldman Changing the Frequency • The Information of Art: A Martha Rosler Retrospective • Fade to Black: Kevin Killian’s Argento Series • The Costs of Style: Harryette Mullen and Freestyle • Adding Up to Plural: On the Work of Roberto Tejada • Poetry As Document, or The Y2K Problem Is the Illusion of Starting at Zero • Form and Culture • PART TWO: TERRITORIES AND OTHER FORMS OF KNOWING • re:Reading the Active Reader Theory • Poetic Ethnography: Mark Nowak’s Revenants • “There’s no center where / similarity would begin”: C.S. Giscombe’s Giscome Road and Here • A Global View: Andreas Gursky at Matthew Marks Gallery • Ghost Stories: Renee Gladman’s Juice • Poetry and Reportage: Andrew Schelling’s The Road to Ocosingo • What Are the Alternatives?—Lorenzo Thomas’ Extraordinary Measures, for Example • PART THREE: MEANING POLITICS WITHOUT REGRETS • “Startling and Effective”: Writing Art and Politics after 9/11 • Countercultural Studies: Edward Sanders’ 1968: A History in Verse • Shine a Dark Light on It: Benjamin Friedlander’s A Knot Is Not a Tangle • Picking Up the Diasporic Pieces: Keith Piper at the New Museum • “How Soon Is Now?”: Anselm Berrigan, Prageeta Sharma, Greg Fuchs, Magdalena Zurawski, and the New Independents • Building Locations: Recent Work by Ben Polsky • Musical Chairs in Public Spaces: Brenda Coultas’ The Bowery Project • Acknowledgments • Bibliography • Index
Wednesday, April 26, 2006
CFP: Documentary
Velvet Light Trap
Issue #60 Documentary Now
CFP: Documentaries have undergone significant stylistic, aesthetic,
and representational shifts from early ethnographic films and the
Griersonian tradition to contemporary work by filmmakers as varied as
Trinh T. Minh-ha and Michael Moore. Debates regarding the role of the
documentarian, ethics of production, editing, indexicality, claims to
"truth" and reality, and representations of
race/ethnicity/gender/sexuality/class have altered how audiences and
scholars consider documentaries. Issue 60 of the Velvet Light Trap
continues these dialogues by seeking essays for a special issue on
contemporary documentary. Essays examining debates in documentary
theory and criticism in light of contemporary contexts,
stylistic/textual strategies, changing patterns of distribution and
exhibition, and industrial analyses are particularly encouraged. The
editorial board is especially interested in changes in documentary
theory, practice and criticism from the 1980s-present.
Possible topics for this issue inclubut are not limited to:
reality television
"reality" and hyperreality
sound style
music
documentary and transnational trade/global flows
social movements and filmmaking
production models
audiences and reading formations
distribution and technology
indexicality
technology and/or distribution
documentary theory
contemporary politics and documentary
filmmakers/movements and production philosophy
editing, style, and aesthetics
sexual/gender/racial representations
PBS/BBC/public service documentary style
News documentary
Documentaries and education
Documentaries and film festival circuits
Distribution
Cable TV and documentary texts
Case studies of particular filmmakers (e.g., Wiseman, Morris)
avant garde/experimental documentary
animation, internet, and/or new media in documentary texts
short form documentary
budgeting and financing
community organizing around the documentary
To be considered for publication, papers should be between 4,500 and
7,500 words, double-spaced, in MLA style, with the author's name and
contact information included only on the cover page. Queries regarding
potential submissions also are welcome. Authors are responsible for
acquiring related visual images and the associated copyrights. For
more information or to submit a query, please contact Kyle Conway
(krconway@wisc.edu), David Resha (djresha@wisc.edu), Charlie Michael
(camichael@wisc.edu), or Ben Aslinger (bsaslinger@gmail.com). All
submissions are due September 15, 2006.
The Velvet Light Trap is an academic, refereed journal of film and
television studies published semi-annually by University of Texas
Press. Issues are coordinated alternately by graduate students at the
University of Texas-Austin and the University of Wisconsin-Madison.
After a prescreening, articles are anonymously refereed by specialist
readers of the journal's Editorial Advisory Board, which includes such
notable scholars as Charles Acland, David William Foster, Sean
Griffin, Bambi Haggins, Heather Hendershot, Charlie Keil, Michele
Malach, Dan Marcus, Nina Martin, Tara McPherson, Walter Metz, Jason
Mittell, James Morrison, Steve Neale, Karla Oeler, Lisa Parks, and
Malcolm Turvey.
Please address submissions to:
Velvet Light Trap
6th Floor, Vilas Communication Hall
821 University Avenue
UW-Madison
Madison, WI 53706
Billy Vermillion
Issue #60 Documentary Now
CFP: Documentaries have undergone significant stylistic, aesthetic,
and representational shifts from early ethnographic films and the
Griersonian tradition to contemporary work by filmmakers as varied as
Trinh T. Minh-ha and Michael Moore. Debates regarding the role of the
documentarian, ethics of production, editing, indexicality, claims to
"truth" and reality, and representations of
race/ethnicity/gender/sexuality/class have altered how audiences and
scholars consider documentaries. Issue 60 of the Velvet Light Trap
continues these dialogues by seeking essays for a special issue on
contemporary documentary. Essays examining debates in documentary
theory and criticism in light of contemporary contexts,
stylistic/textual strategies, changing patterns of distribution and
exhibition, and industrial analyses are particularly encouraged. The
editorial board is especially interested in changes in documentary
theory, practice and criticism from the 1980s-present.
Possible topics for this issue inclubut are not limited to:
reality television
"reality" and hyperreality
sound style
music
documentary and transnational trade/global flows
social movements and filmmaking
production models
audiences and reading formations
distribution and technology
indexicality
technology and/or distribution
documentary theory
contemporary politics and documentary
filmmakers/movements and production philosophy
editing, style, and aesthetics
sexual/gender/racial representations
PBS/BBC/public service documentary style
News documentary
Documentaries and education
Documentaries and film festival circuits
Distribution
Cable TV and documentary texts
Case studies of particular filmmakers (e.g., Wiseman, Morris)
avant garde/experimental documentary
animation, internet, and/or new media in documentary texts
short form documentary
budgeting and financing
community organizing around the documentary
To be considered for publication, papers should be between 4,500 and
7,500 words, double-spaced, in MLA style, with the author's name and
contact information included only on the cover page. Queries regarding
potential submissions also are welcome. Authors are responsible for
acquiring related visual images and the associated copyrights. For
more information or to submit a query, please contact Kyle Conway
(krconway@wisc.edu), David Resha (djresha@wisc.edu), Charlie Michael
(camichael@wisc.edu), or Ben Aslinger (bsaslinger@gmail.com). All
submissions are due September 15, 2006.
The Velvet Light Trap is an academic, refereed journal of film and
television studies published semi-annually by University of Texas
Press. Issues are coordinated alternately by graduate students at the
University of Texas-Austin and the University of Wisconsin-Madison.
After a prescreening, articles are anonymously refereed by specialist
readers of the journal's Editorial Advisory Board, which includes such
notable scholars as Charles Acland, David William Foster, Sean
Griffin, Bambi Haggins, Heather Hendershot, Charlie Keil, Michele
Malach, Dan Marcus, Nina Martin, Tara McPherson, Walter Metz, Jason
Mittell, James Morrison, Steve Neale, Karla Oeler, Lisa Parks, and
Malcolm Turvey.
Please address submissions to:
Velvet Light Trap
6th Floor, Vilas Communication Hall
821 University Avenue
UW-Madison
Madison, WI 53706
Billy Vermillion
Friday, April 14, 2006
Sound As A Media Friendly Weapon:
The Graduate Group in Cultural Studies invites you to join us at colloquium on Thursday, 20 April 2006, 4:00-6:00PM in 1130 Hart Hall. Sound As A Media Friendly Weapon: The S.P.I.R.A.W.L Project (Sound Proofed Institute for Acoustic Weapons Logistics) will be presented by KIT Collaboration, Battery Operated, and C0C0S0L1DC1. Please see below for more information. We hope to see you there!
_____________________________________________________________________________________
Sound As A Media Friendly Weapon: The S.P.I.R.A.W.L Project
(Sound Proofed Institute for Acoustic Weapons Logistics)
A presentation by members of KIT Collaboration, Battery Operated, and C0C0S0L1DC1
With archival footage and contemporary interviews, S.P.I.R.A.W.L.: Sound as a Media Friendly Weapon charts the camouflaged growth of sound weapons, tracking their development under the benign rubric of “non-lethal” weapons programs, since the Second World War. The filmmakers trace the success these weapons have in field ops, look at how and where these weapons have been commercialized, and at what state agencies are introducing them for civilian control. They ask how democratic nations are able to develop and introduce these weapons without regard to international law, public policy or arms control. Calls for human rights directed policies have so far fallen on deaf ears. S.P.I.R.A.W.L. speaks out against the silent spread of sonic weaponry and locates the resonant frequency of democracy.
Thursday, 20 April 2006
4:00-6:00pm, 1130 Hart Hall
KIT is a collaboration of artists, architects, programmers and writers. Working together since 1995, they have produced interactive robotic, sound, video and photographic installations, projects for architectural competitions and curated touring exhibitions. KIT projects have been realized in galleries, museums, festivals and off-site spaces across Europe, North America and Asia.
C0C0S0L1DC1 is a sound, video and Internet commissioning label. They invite artists from all of these mediums to collaborate on projects together as well as to produce their own works for release on CD/DVD and through the web.
Co-sponsored by Technocultural Studies, Film Studies, and Science and Technology Studies
_____________________________________________________________________________________
Sound As A Media Friendly Weapon: The S.P.I.R.A.W.L Project
(Sound Proofed Institute for Acoustic Weapons Logistics)
A presentation by members of KIT Collaboration, Battery Operated, and C0C0S0L1DC1
With archival footage and contemporary interviews, S.P.I.R.A.W.L.: Sound as a Media Friendly Weapon charts the camouflaged growth of sound weapons, tracking their development under the benign rubric of “non-lethal” weapons programs, since the Second World War. The filmmakers trace the success these weapons have in field ops, look at how and where these weapons have been commercialized, and at what state agencies are introducing them for civilian control. They ask how democratic nations are able to develop and introduce these weapons without regard to international law, public policy or arms control. Calls for human rights directed policies have so far fallen on deaf ears. S.P.I.R.A.W.L. speaks out against the silent spread of sonic weaponry and locates the resonant frequency of democracy.
Thursday, 20 April 2006
4:00-6:00pm, 1130 Hart Hall
KIT is a collaboration of artists, architects, programmers and writers. Working together since 1995, they have produced interactive robotic, sound, video and photographic installations, projects for architectural competitions and curated touring exhibitions. KIT projects have been realized in galleries, museums, festivals and off-site spaces across Europe, North America and Asia.
C0C0S0L1DC1 is a sound, video and Internet commissioning label. They invite artists from all of these mediums to collaborate on projects together as well as to produce their own works for release on CD/DVD and through the web.
Co-sponsored by Technocultural Studies, Film Studies, and Science and Technology Studies
Monday, April 10, 2006
PARIS IS BURNING (AGAIN)
PARIS IS BURNING (AGAIN)
PARIS IS BURNING (AGAIN)
The Museum of the African Diaspora will present the first program in the MoAD Arts and Lecture Series, Paris Is Burning (Again), a critical day-long symposium focusing on the black Francophone world and celebrating the 100th anniversary ofthe birth of Leopold Sedar Senghor, poet, first Senegalese president and founder ofthe cultural/artistic movement, Negritude.
Confirmed Participants
Simon Njami, co-founder and editorof Revue Noire and curator of the upcoming 'Bamako 2007: AfricanPhotography Encounters', a biennial photographic exhibition of African photographers, is the keynote speaker. Emmanuel Dongala, author of fournovels including 'Little Boys Come From the Stars' and the recent, 'Johnny Mad-Dog' and Tyler Stovall (UC Berkeley), Janet G. Vaillant (Harvard), Trica D. Keaton (Indiana U.), Elisabeth Mudimbe-Boyl
(Stanford). Louis Chude-Sokei (UC Santa Cruz) is moderator for the Symposium.
Location: Museum of the African Diaspora
685 Mission Street (at Third) San Francisco, California 94105
Date: Thursday, April 13, 2005
Time: 10:00-4:00 Symposium
4:30-5:30 Self-guided MoAD Tour
5:30-8:30 Reception and Book signing
Reception catered by Marco Senghor, nephew of the late President Senghor and
owner of Bissap Baobab in San Francisco.
$ 25.00 General admission
$ 20.00 Students with current ID
$ 20.00 Seniors
Ticket price includes a Continental breakfast, lunch and reception. For
further information call 415 358-7215 or purchase tickets online
www.moadsf.org .
Paris Is Burning (Again) is co-sponsored by Alliance Francaise and is made
possible through a grant from the James Irvine Foundation.
PARIS IS BURNING (AGAIN)
The Museum of the African Diaspora will present the first program in the MoAD Arts and Lecture Series, Paris Is Burning (Again), a critical day-long symposium focusing on the black Francophone world and celebrating the 100th anniversary ofthe birth of Leopold Sedar Senghor, poet, first Senegalese president and founder ofthe cultural/artistic movement, Negritude.
Confirmed Participants
Simon Njami, co-founder and editorof Revue Noire and curator of the upcoming 'Bamako 2007: AfricanPhotography Encounters', a biennial photographic exhibition of African photographers, is the keynote speaker. Emmanuel Dongala, author of fournovels including 'Little Boys Come From the Stars' and the recent, 'Johnny Mad-Dog' and Tyler Stovall (UC Berkeley), Janet G. Vaillant (Harvard), Trica D. Keaton (Indiana U.), Elisabeth Mudimbe-Boyl
(Stanford). Louis Chude-Sokei (UC Santa Cruz) is moderator for the Symposium.
Location: Museum of the African Diaspora
685 Mission Street (at Third) San Francisco, California 94105
Date: Thursday, April 13, 2005
Time: 10:00-4:00 Symposium
4:30-5:30 Self-guided MoAD Tour
5:30-8:30 Reception and Book signing
Reception catered by Marco Senghor, nephew of the late President Senghor and
owner of Bissap Baobab in San Francisco.
$ 25.00 General admission
$ 20.00 Students with current ID
$ 20.00 Seniors
Ticket price includes a Continental breakfast, lunch and reception. For
further information call 415 358-7215 or purchase tickets online
www.moadsf.org .
Paris Is Burning (Again) is co-sponsored by Alliance Francaise and is made
possible through a grant from the James Irvine Foundation.
Friday, February 24, 2006
Engendering Public Space
Engendering Urban Public Space
The Partners for Urban Knowledge Action and Research (PUKAR) Gender and Space project has been researching the relationship between women and public space for the last two and a half years. We are currently at the writing stage of our research and would like to share our observations and analysis as well as receive inputs from the experiences of others who have been working on similar lines. To that end, we invite researchers, activists, advocates, journalists, architects, pedagogues and others working in the area of gender in relation to urban public space to a roundtable discussion of questions of engendering safety, infrastructure and citizenship.
We refer to public space as a part of the public sphere. Public spaces for the purposes of this roundtable refers to streets, market places (across class contexts - that is including bazaars and malls); recreational spaces such as parks, theatres, restaurants, coffee shops; infrastructure such as subways, foot-over-bridges and public toilets; and modes of public transport including railway stations and bus stops.
What we are looking for are presentations of research papers / studies / explorations that have engaged with questions of gender in relation to space, particularly urban public space. Each presentation is intended to be not longer than 15 minutes to leave more time for discussion. Presenters will receive an honorarium but the costs of travel and boarding will have to be covered by participants themselves.
Please mail queries and abstracts of presentations to genderspace@pukar.org.in by March 10th, 2006.
Date: 12 April 2006
Location: Mumbai, India
Potential areas of focus could include:
a.. Shrinking Public Spaces
b.. Safety
c.. Questions of Morality and Culture-policing
d.. Sexuality and the City
e.. Woman-friendly design
f.. Legal concerns
g.. Policy related matters
h.. Infrastructure
For more information on the PUKAR Gender and Space project please see:
www.pukar.org.in
PUKAR (Partners for Urban Knowledge Action and Research)
The Partners for Urban Knowledge Action and Research (PUKAR) Gender and Space project has been researching the relationship between women and public space for the last two and a half years. We are currently at the writing stage of our research and would like to share our observations and analysis as well as receive inputs from the experiences of others who have been working on similar lines. To that end, we invite researchers, activists, advocates, journalists, architects, pedagogues and others working in the area of gender in relation to urban public space to a roundtable discussion of questions of engendering safety, infrastructure and citizenship.
We refer to public space as a part of the public sphere. Public spaces for the purposes of this roundtable refers to streets, market places (across class contexts - that is including bazaars and malls); recreational spaces such as parks, theatres, restaurants, coffee shops; infrastructure such as subways, foot-over-bridges and public toilets; and modes of public transport including railway stations and bus stops.
What we are looking for are presentations of research papers / studies / explorations that have engaged with questions of gender in relation to space, particularly urban public space. Each presentation is intended to be not longer than 15 minutes to leave more time for discussion. Presenters will receive an honorarium but the costs of travel and boarding will have to be covered by participants themselves.
Please mail queries and abstracts of presentations to genderspace@pukar.org.in by March 10th, 2006.
Date: 12 April 2006
Location: Mumbai, India
Potential areas of focus could include:
a.. Shrinking Public Spaces
b.. Safety
c.. Questions of Morality and Culture-policing
d.. Sexuality and the City
e.. Woman-friendly design
f.. Legal concerns
g.. Policy related matters
h.. Infrastructure
For more information on the PUKAR Gender and Space project please see:
www.pukar.org.in
PUKAR (Partners for Urban Knowledge Action and Research)
Wednesday, February 15, 2006
DoubleTake Magazine
DoubleTake magazine is back, with the same superb narrative writing, photography, fiction and poetry that made it a most original and significant magazine.
Take a look inside!
It's back as a bi-annual with its highly respected editor, Dr. Robert Coles, and its mission to pursue a kind of serious, patient consideration of the perspectives, visions and concerns of others.
It's back, now as DoubleTake/Points of Entry, housed in a university editorial office and distributed by a prestigious university press.
DoubleTake / Points of Entry has the look, feel and high printing quality of the old DoubleTake, and the premiere issue—Spring 2006—is available now from The Johns Hopkins University Press. (Table of Contents.)
Take a look inside!
It's back as a bi-annual with its highly respected editor, Dr. Robert Coles, and its mission to pursue a kind of serious, patient consideration of the perspectives, visions and concerns of others.
It's back, now as DoubleTake/Points of Entry, housed in a university editorial office and distributed by a prestigious university press.
DoubleTake / Points of Entry has the look, feel and high printing quality of the old DoubleTake, and the premiere issue—Spring 2006—is available now from The Johns Hopkins University Press. (Table of Contents.)
Thursday, February 02, 2006
Bootstrap Press Tour in Bay Area
Bootstrap Press is holding three events in the bay area.
SUNDAY
2-19-2006
David Michalski and Andrew Shelling
Moe's Book's 7:30PM
2476 Telegraph Ave., Berkeley, CA
510-849-2087
MONDAY
2-20-2006
Derek Fenner and Ryan Gallagher
Pegasus Books 7:30PM
2349 Shattuck Ave., Berkeley, CA
510-649-1320
TUESDAY
2-21-2006
Open Forum on Small Press Publishing
Iron Springs Pub and Brewery 4-6PM
765 Center Blvd., Fairfax, CA
415-485-1005
please join us.
SUNDAY
2-19-2006
David Michalski and Andrew Shelling
Moe's Book's 7:30PM
2476 Telegraph Ave., Berkeley, CA
510-849-2087
MONDAY
2-20-2006
Derek Fenner and Ryan Gallagher
Pegasus Books 7:30PM
2349 Shattuck Ave., Berkeley, CA
510-649-1320
TUESDAY
2-21-2006
Open Forum on Small Press Publishing
Iron Springs Pub and Brewery 4-6PM
765 Center Blvd., Fairfax, CA
415-485-1005
please join us.
Loggernaut Reading Series / Updates
Visit the Loggernaut site. New interviews for Winter include:
* Journalist, critic, and novelist Pankaj Mishra appreciates Buddhism in the West, despises public intellectuals, and is heading to China.
* Novelists Sam Lipsyte and Gary Shteyngart meet for a beer in Queens and share their thoughts on historical novels, video games, anti-Faulkner snark, and that speech at the end of every high school movie.
* Genre bender David Shields assesses risk, hungers for "reality," and offers a taste of a forthcoming manifesto.
Loggernaut Reading Series
* Journalist, critic, and novelist Pankaj Mishra appreciates Buddhism in the West, despises public intellectuals, and is heading to China.
* Novelists Sam Lipsyte and Gary Shteyngart meet for a beer in Queens and share their thoughts on historical novels, video games, anti-Faulkner snark, and that speech at the end of every high school movie.
* Genre bender David Shields assesses risk, hungers for "reality," and offers a taste of a forthcoming manifesto.
Loggernaut Reading Series
Saturday, January 14, 2006
CFP: African Cities: Colonial Speculum and Post-Colonial Urbanism
African Identities: Journal of Economics, Culture and Society
Call for Papers
Deadline: May 30, 2006
African Cities: Colonial Speculum and Post-Colonial Urbanism
The Editors of African Identities and the Center for Black Diaspora, DePaul University are pleased to announce a special issue of the journal devoted to exploring African Cities: Colonial Speculum and Post-Colonial Urbanism. The special issue seeks to explore the physical and social construction of African cities and the dense web of intricate social relations, flows, exchanges, appropriations and adoptions that constantly shape and reshape their diverse geographical and social spaces.
In much of the literature on African cities which was derived from the early 20th century urban theory, the primary emphasis has been to generalize about the development of cities at different stages in history as spatially bounded entities, imprinted with a particular way of life as well as a distinct spatial and social divisions of labor. Given this framework, current literature of African cities retains a focus firmly rooted in characterizing African cities as sites of urban disorder, chaos, ungovernability, poverty, physical and symbolic violence. These images of African cities are reproduced and mediated by a grid of knowledge that privileges a particular form of city building processes which developed in Europe and North America. Criticism of this form of urban representation of African cities is extensive, yet the problem of African urbanity both in its colonial and post-colonial urban forms remains under theorized. There is therefore an urgent need to explore the nature of African cities. In part, because African cities are moving away from the "nation building" project assigned to them by the colonial powers and post-colonial states, to spaces in which African inhabitants are reconfiguring and remaking urban worlds, deploying their own forms of urbanity born out of their historical and material circumstances. It is in these new dense urban spaces with all their contradictions that urban Africans are reworking their local identities, building families, and weaving autonomous communities of solidarity made fragile by neo-liberal states. Urban Africans throughout the continent are creating and recreating dense social networks, flows, exchanges, and knowledge with their own architectural and urban development imprints. 1 Indeed, the pace of the new forms of African urbanity has accelerate in recent years by the deepening political and social crisis that has engulfed African cities. We are seeking articles that examine the significance of African urbanitiy, its complexity and vitality in a single region, social or historical context. Throughout the continent, urban Africans despite diminishing resources are appropriating and transforming the colonial city and its ideal of modernity.
Submissions
Articles should be between 6500-8000 words inclusive of notes and references, accompanied by disc in Microsoft Word. Articles may include black and white images scanned to disk at 300dpi. Manuscripts MUST conform to Harvard Reference style.
They should be double-spaced throughout (including notes and references). Because manuscripts are reviewed blind, the author's name, affiliations, address, telephone and, fax numbers (should be on a seperate sheet?-DM)
The deadline for submission is May 30, 2006.
Manuscripts for the special issue of African Identities should be sent
directly to the Guest Editor:
Fassil Demissie, Guest Editor
Public Policy Studies, DePaul University
2320 North Clifton Avenue, Room 150.1
Chicago, IL 60614
Phone: (773) 325-7356
Fax: (773) 325-7514
Email: fdemissi@depaul.edu
African Identities is a peer reviewed international academic journal that provides a critical forum for examination of African and diasporic expressions, representations and identities. The aim of the journal is to open up various horizons of the field through multidisciplinary approaches: to encourage the development of theory and practice on the wider spread of disciplinary approach: to promote conceptual innovation and to provide a venue for entry of new perspectives. The journal focuses on the myriad of ways in which cultural productions create zones of profound expressive possibilities by continually generating texts and contexts of reflective import. With an emphasis on gender, class, nation, marginalization, 'otherness' and difference, the journal explore how African identities, either by force or contingency, create terrains of (ex)change, decenter dominant meanings, paradigms and certainties.
Call for Papers
Deadline: May 30, 2006
African Cities: Colonial Speculum and Post-Colonial Urbanism
The Editors of African Identities and the Center for Black Diaspora, DePaul University are pleased to announce a special issue of the journal devoted to exploring African Cities: Colonial Speculum and Post-Colonial Urbanism. The special issue seeks to explore the physical and social construction of African cities and the dense web of intricate social relations, flows, exchanges, appropriations and adoptions that constantly shape and reshape their diverse geographical and social spaces.
In much of the literature on African cities which was derived from the early 20th century urban theory, the primary emphasis has been to generalize about the development of cities at different stages in history as spatially bounded entities, imprinted with a particular way of life as well as a distinct spatial and social divisions of labor. Given this framework, current literature of African cities retains a focus firmly rooted in characterizing African cities as sites of urban disorder, chaos, ungovernability, poverty, physical and symbolic violence. These images of African cities are reproduced and mediated by a grid of knowledge that privileges a particular form of city building processes which developed in Europe and North America. Criticism of this form of urban representation of African cities is extensive, yet the problem of African urbanity both in its colonial and post-colonial urban forms remains under theorized. There is therefore an urgent need to explore the nature of African cities. In part, because African cities are moving away from the "nation building" project assigned to them by the colonial powers and post-colonial states, to spaces in which African inhabitants are reconfiguring and remaking urban worlds, deploying their own forms of urbanity born out of their historical and material circumstances. It is in these new dense urban spaces with all their contradictions that urban Africans are reworking their local identities, building families, and weaving autonomous communities of solidarity made fragile by neo-liberal states. Urban Africans throughout the continent are creating and recreating dense social networks, flows, exchanges, and knowledge with their own architectural and urban development imprints. 1 Indeed, the pace of the new forms of African urbanity has accelerate in recent years by the deepening political and social crisis that has engulfed African cities. We are seeking articles that examine the significance of African urbanitiy, its complexity and vitality in a single region, social or historical context. Throughout the continent, urban Africans despite diminishing resources are appropriating and transforming the colonial city and its ideal of modernity.
Submissions
Articles should be between 6500-8000 words inclusive of notes and references, accompanied by disc in Microsoft Word. Articles may include black and white images scanned to disk at 300dpi. Manuscripts MUST conform to Harvard Reference style.
They should be double-spaced throughout (including notes and references). Because manuscripts are reviewed blind, the author's name, affiliations, address, telephone and, fax numbers (should be on a seperate sheet?-DM)
The deadline for submission is May 30, 2006.
Manuscripts for the special issue of African Identities should be sent
directly to the Guest Editor:
Fassil Demissie, Guest Editor
Public Policy Studies, DePaul University
2320 North Clifton Avenue, Room 150.1
Chicago, IL 60614
Phone: (773) 325-7356
Fax: (773) 325-7514
Email: fdemissi@depaul.edu
African Identities is a peer reviewed international academic journal that provides a critical forum for examination of African and diasporic expressions, representations and identities. The aim of the journal is to open up various horizons of the field through multidisciplinary approaches: to encourage the development of theory and practice on the wider spread of disciplinary approach: to promote conceptual innovation and to provide a venue for entry of new perspectives. The journal focuses on the myriad of ways in which cultural productions create zones of profound expressive possibilities by continually generating texts and contexts of reflective import. With an emphasis on gender, class, nation, marginalization, 'otherness' and difference, the journal explore how African identities, either by force or contingency, create terrains of (ex)change, decenter dominant meanings, paradigms and certainties.
Monday, January 09, 2006
Exile, Nationalism and Cosmopolitanism
Exile, Nationalism and Cosmopolitanism
Location: Germany
Call for Papers Deadline: 2006-03-30
21-23 June 2007
Warburg-Haus, Hamburg
Proposal deadline 30 March 2006
Research on migration, diasporas and exile suggests that the specific trans-national situation with which exiles are confronted, frequently leads to
the emergence and development of nationalist or cosmopolitan attitudes towards other ‘nations’ or ethnicities, political and social groups. Nineteenth and early twentieth-century national historiography suggests that, during the process of nation building and the formation of national identities in western Europe, tendencies to develop rival national identities in exile were much stronger than in the so-called ‘cosmopolitan age’ of the late seventeenth and the eighteenth centuries. In the case of the Italian Risorgimento exile in France reinforced those exiles’ ‘nationalism’, other groups in diaspora, including the Huguenots, who migrated to different European and overseas destinations between 1548 and 1787, are identified as ‘cosmopolitans’. However, closer assessment of diasporic groups and of exile makes evident that exiles frequently developed attitudes that would be identified as simultaneously both cosmopolitan and nationalist.
This conference seeks,
1. To discuss different forms of exile to approach a more differentiated perspective on exile and its consequences for groups living in a trans-national context. These groups reacted to their circumstances by creating a new political, social, economic and/or cultural identity. 2. To define and explain ‘nationalism’ and the so-called ‘rise of the nation-state’ in the context of ‘exile’ and diasporic movements. 3. To define and explain cultural, political or social ‘cosmopolitanism’ in
the context of ‘exile’ and Diasporas.
We invite papers which
1. Offer specific forms of ‘exile’ including a) exile beyond the native country; forced exile or voluntary exile, political exile, diasporas and the discrimination of groups abroad that lead to forms of ‘non-voluntary exile’ b)exile within the native country: ‘inneres Exil’, discrimination of specific groups in their home countries which, in context, led to a variety of forms of ‘exile’.
2. Present responses of ‘exiled’ groups to the challenges posed by ‘exile’ – such as acculturation, integration and assimilation, discrimination and concepts of cultural superiority or inferiority developed by both the ‘hosting’ and the ‘hosted’ groups - that could be defined as ‘nationalist’ or ‘cosmopolitan’.
Please send an abstract of your paper proposal and a short curriculum vitae to
Dr. Susanne Lachenicht (slachenicht@yahoo.com). The deadline for proposals is 30 March 2006.
Organisers: Lehrstuhl für Neuere Geschichte, Schwerpunkt Nordamerikanische, Atlantische und Karibische Geschichte, Historisches Seminar, Universität Hamburg, Prof. Dr. Claudia Schnurmann, Dr. Susanne Lachenicht and the Institut für die Geschichte der deutschen Juden, Hamburg, Dr. Kirsten Heinsohn.
Dr. Susanne Lachenicht
Universität Hamburg
Historisches Seminar
Arbeitsbereich Außereuropäische Geschichte
Lehrstuhl Prof. Dr. Claudia Schnurmann
Von Melle Park 6
Hamburg
Germany
Email: slachenicht@yahoo.com
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