DTSA

Complicities: The Stony Brook English Graduate Conference, Friday, 3/11/2011
English Department, Stony Brook University
sbcomplicity2011@gmail.com
Date: Conference Friday, March 11, 2011
Location: Stony Brook Manhattan Campus, Midtown
Keynote: Dr. Stanley Aronowitz, CUNY Graduate Center

Home to the longest-running graduate conference in the nation, the English Department at Stony Brook University invites scholars of all disciplines to submit papers to its 2011 Manhattan event.

Derived from the Latin verb “complicare,” meaning to “fold together,” Complicity conveys conflicting messages: On the one hand, it is rarely used without a certain connotation of dismissal, condemnation, or indictment; on the other, its mostly ignored kinship with concepts such as solidarity, loyalty, commitment, and responsibility undermines its notoriety as a quintessentially “negative” word – particularly in the context of political activism.
Complicity offers a productive set of ambivalences that awaits to be discussed and reinterpreted: Is it somehow avoidable? Need one strive to avoid it? Can one possibly engage the label with impunity? How might one strive to endorse or resist the “folding-together” expressed in the word’s definition in new and productive ways, and how have contemporary and past artists, intellectuals, and activists attempted to do so?

Possible topics include but are not limited to:

Manifesto Writing (Futurism, Dada, Expressionism, Surrealism); Aesthetics and politics of the Avant-Garde; Memoirs, Autobiographies, Confessions; Polemic; Existentialism – Personal Responsibility; Solidarity; Collaboration; Networks; Utopias and Dystopias; Reform enterprises; Rebellions; Revolutions; Communism, Fascism, Nazism; Patriotism; Nationalism; Empire; Fanaticism; Discrimination; Violence; War; Terrorism; Conspiracy; Self-interest; Dissent; Condemnation, Punishment, and Exile; Regret; Disavowal; Typologies; Orientalism; Knowledge Production; Subjecthood; Psychoanalysis; Jurisprudence; Eco-activism; Fashion; Advertisement; Consumer Trends; Pornography; Technology; Surveillance; Biopolitics.

Submit abstracts of 250 words by January 31, 2011 to
Burcu Kuheylan and Matthew Kremer
Stony Brook University
SBcomplicity2011@gmail.com

Please make your name and paper title the subject of the email.

AMERICAN SOCIETY FOR THEATRE RESEARCH/ THEATRE LIBRARY ASSOCIATION 2011 CONFERENCE
Montreal, Quebec Canada
November 17 – 20, 2011
Fairmont The Queen Elizabeth Hotel

Economies of Theatre
Theatre is an economy unto itself. It is a practice of representation and exchange. It deals in substitutions and sleights of hand, seeming always to offer one thing in return for another. Theatre manages its own systems of debt and collateral, trades in trust and credulity, traffics in goods, services and persons. It provokes love, pity and fear for its promiscuous commodification of the world.
Theatre is also one of those places in a wider economy at which production and consumption, work and leisure take place simultaneously and in each other’s presence. Theatre is therefore a place where the relations between production and consumption, work and leisure are variously obscured, enchanted and explored.
Some forms of theatre and performance seek to evade or resist the economic structures within which they operate, while others are entangled with the market and its vicissitudes in ways that attract both the suspicion and the fascination of both artists and scholars.
All this might amount to little were theatre not also an economy of feelings: a space and a practice constituted by the circulation of images, the transmission of affect and a multitude of peculiar investments of time and of thought.
The Program Committee invites proposals for plenary session presentations that offer new thinking or provoke fresh questions about the theatre and its many economies. We are open to all proposals that address the broad theme of the conference, addressing theatre and performance from any historical period or geographical / cultural location, including, but not exclusively, questions of:
• theatre and performance in terms of marketplaces, commerce, subsidy, financialization, wages, exploitation, consumption, overheads, capitalization, profit and loss, and the not-for-profit;
• the role of theatre and performance in economic policy and its implementation, in urban development, tourism, cultural industries, heritage;
• the circulation of images and identities in the theatre and beyond – by means of economies involving substitution, representation, documentation, gossip, remediation, identification and disidentification;
• economies of affect and emotion: the movements of desire and passion, feelings and actions of reciprocity and non-reciprocity, love requited and unrequited;
• economies of the gift and of waste (of energy, time, resources);
• theatre and performance as queerings of productivity and resistances to logics of accumulation;
• the performativity of economics and finance (forecasting, confidence, credit).

Participation Guidelines
Plenary Presentations: We invite proposals for individual plenary papers and/or presentations. These presentations are “plenary” in the sense that they address the entire conference and nothing runs concurrently with them. Proposals should take the form of an abstract (max. 250 words) that includes name, affiliation, mailing and email addresses. Full-length papers will not be accepted. Individual presentations should not exceed 20 minutes. Those whose proposals are not selected for plenary presentations will have the opportunity to apply to a second call for participants in accepted working sessions.
Working Sessions: We invite proposals for working sessions. This category includes roundtables, seminars, research groups, reading groups, forums, workshops, as well as formats that have yet to be imagined. “Working sessions” is a general category that allows the session leader(s) to convene small groups around a proposed area of inquiry or practice, and to structure a method and format that best suits the goals of the group. No formats will be privileged over others; all proposals will be given equal consideration according to their merit. Proposals should include a rationale for the subject of the session and for its format, and must be accompanied by the “ASTR/TLA Working Sessions Proposal Form,” attached below. Proposals related to the conference theme are particularly welcome, but not necessary. Once the program committee has made its selection of working sessions, each session convener will be invited to issue a specialized call for participants for that session; this second round of calls for participants in working sessions will be posted on the ASTR and TLA websites, with a late May deadline for submission.

For more information about ASTR working sessions see:
http://www.astr.org/Conference/WorkingSessionsGuidelines

For an application form for ASTR working sessions: http://www.astr.org/files/ASTRpropsal%20form.doc

All submissions must be received by February 1, 2011 and should be sent as email attachments, in MS Word, to astr2011@gmail.com .
Inquiries are welcome. Please contact Nick Ridout at astr2011@gmail.com with program questions
or Nancy Erickson ( nericksn@aol.com ) with questions about conference logistics.

PROGRAM COMMITTEE 2011
Nicholas Ridout (Chair), Queen Mary University of London
Colleen Reilly (TLA Representative), Slippery Rock University
Stacy Wolf (Vice President), Princeton University, ex officio
David Saltz (Committee on Conferences), University of Georgia
Scott Magelssen (Committee on Conferences), Bowling Green State University
Pannill Camp, Washington University in St Louis
Erin Hurley, McGill University
Shannon Jackson, University of California, Berkeley
Tavia Nyong’o, New York University
Jim Peck, Muhlenberg College
Beliza Torres (Graduate Student Caucus Representative)
Patricia Ybarra, Brown University

*** Deadline Approaching***

Call For Papers

American Literature Association
2011 Conference

Location and Dates: Boston, MA. May 26-29, 2011

The Arthur Miller Society invites proposals for papers for two panels at the 2011 ALA Conference. Participants will be selected with the primary goal of providing innovating and illuminating work on the following theme:

Panel Theme: Dramatizing Ideas in the Plays of Arthur Miller

The Arthur Miller Society will join the American Theatre and Drama Society, the Eugene O’Neill Society, the Susan Glaspell Society, and the Thornton Wilder Society to collaborate on a series of panels and roundtables on the theme of “Dramatizing Ideas,” which is conceived in the broadest sense. Special consideration will be made for papers that discuss how Miller’s work engages with the panel theme. Papers addressing any aspect of Miller’s plays and productions are also welcome, as are papers dealing with his novel, short stories, reportage, screenplays, essays, and writings with Inge Morath.

Please direct all proposals and queries to:

Joshua Polster
Emerson College
Joshua_Polster@emerson.edu

Please submit proposals by email in Word format. Proposals should include the following items:

- Name and Title (student, faculty, independent scholar)
- Academic Affiliation
- Contact Information
- Title of Paper
- Abstract (please limit abstracts to 300 words)
- Audiovisual Requests

All proposals must be received by January 15, 2010.

Please see the ALA website for the complete call:

http://www.americanliterature.org

For information on the Arthur Miller Society, please go to http://www.ibiblio.org/miller/

Well, this seems a great opportunity if you’re interested in working up your seminar paper into an article! And you have all the way until April 15…. If you’re interested, you should must send an email to Ric with an informal abstract of your paper just to let him know it’s coming. His email is rknowles@uoguelph.ca. Canadian coeditors! How much more cosmic encouragement do you want?
JR

At 6:31 -0800 1/1/11, Penny Farfan wrote:
Theatre Journal
Special Issue: Rethinking Intercultural Performance

Call for Papers

“Intercultural” performance practitioners and theorists from W.B. Yeats and
Antonin Artaud to Peter Brook and Ariane Mnouchkine have been criticized by
postcolonialists for cultural appropriations in service of falsely
universalizing claims that extend rather than intervene in imperialist
cultural agendas. For this special issue, the editors invite essays that
rethink intercultural performance through historical and contemporary
examples and through innovative theoretical perspectives and critical
methods. We are particularly interested in submissions that consider
intercultural collaborations across multiple cultures;
interculturalism “from below”; the materialities of “the local”; and the
increasingly intercultural constitution of audiences in urban settings
internationally.

This special issue will be edited by Penny Farfan, Coeditor, Theatre
Journal, and Ric Knowles, Special Issue Guest Coeditor. Submissions (6000-
9000 words) should be e-mailed to Bob Kowkabany, Managing Editor, at
doriclay@aol.com by April 15, 2011.

Theatre Journal
Special Issue: Rethinking Intercultural Performance

Call for Papers

“Intercultural” performance practitioners and theorists from W.B. Yeats and Antonin Artaud to Peter Brook and Ariane Mnouchkine have been criticized by postcolonialists for cultural appropriations in service of falsely universalizing claims that extend rather than intervene in imperialist cultural agendas. For this special issue, the editors invite essays that rethink intercultural performance through historical and contemporary examples and through innovative theoretical perspectives and critical methods. We are particularly interested in submissions that consider intercultural collaborations across multiple cultures; interculturalism “from below”; the materialities of “the local”; and the increasingly intercultural constitution of audiences in urban settings internationally.

This special issue will be edited by Penny Farfan, Coeditor, Theatre Journal, and Ric Knowles, Special Issue Guest Coeditor. Submissions (6000- 9000 words) should be e-mailed to Bob Kowkabany, Managing Editor, at doriclay@aol.com by April 15, 2011.

Call for Papers—Extended Deadline

SETC Theatre Symposium Volume 20:

Gods and Groundlings: Historical Theatrical Audiences

Before cell phones or internet marketing or even electrical lighting, how did theatre audiences function in various periods and cultures? How did they behave? What did they expect? What was expected of them? Who came and who stayed home—and why? The 2011 Southeastern Theatre Conference (SETC) Theatre Symposium will focus on audience reception, expectations and obligations, behaviors, “contracts” with performers, etc. in early- and pre-20th-Century cultures. Possible topics:

- Effect of audience behavior on performance or playwriting conventions;

- Class distinctions within audiences;

- Violation of or submission to social expectations of audiences;

- Unusual or typical “contracts” with specific audiences;

- Relationship of evolving audience expectations to social change or upheaval;

- Blurred or enforced distinctions between performers and their audiences;

- Role of concessions or other non-theatrical elements of theatre attendance;

- Etc.

Research on both Western and non-Western audiences is welcomed. The Symposium will be held at Furman University in Greenville, SC, April 15-17, 2011. Selected papers presented at the conference will be published in Volume 20 of SETC’s annual Theatre Symposium journal.

Please send one-page abstracts by February 1, 2011, to wallacebert@campbell.edu. Please use “LastName TS Abstract” as your subject line. Abstracts should include complete contact information (snail mail, email, phone).

Please contact Bert Wallace, Editor, at wallacebert@campbell.edu or 910.814.4328 with any questions. Thank you.

Hi would you mind sharing which blog platform you’re working with? I’m planning to start my own blog in the near future but I’m having a hard time making a decision between BlogEngine/Wordpress/B2evolution and Drupal. The reason I ask is because your layout seems different then most blogs and I’m looking for something unique. P.S My apologies for being off-topic but I had to ask!

Critical Themes in Media Studies

The graduate students of the Department of Media Studies and Film at The New School are pleased to announce a call for papers and projects to the 11th annual Critical Themes in Media Studies Conference, taking place April 15-16, 2011 in New York City.

Critical Themes in Media Studies is not organized around a single theme. Instead,we welcome work from across a wide range of topics related to media theory. Panels will be formed around common areas of interest that emerge from the works received.

Presenters are invited to submit project proposals that include but are not limited to: papers, interactive installations, maps, walking tours,performances, and so on.

We encourage the submission of traditional scholarly papers as well as multi-modal research projects. We ask all applicants to be prepared to present their work in a traditional academic format, but also individual panels may encompass projects in a variety of configurations.

We will send notification in advance to all presenters for whom we are able to accommodate any non-traditionalformats and provide technical services.
For general inquiries or further information, please contact:

For more information about past Critical Themes conferences, visit:
criticalthemes@gmail.com

http://criticalthemes.net

CFP: ATHE Performance Studies Focus Group Emerging Scholars Panel
DEADLINE EXTENDED! New deadline: February 15, 2011

The Performance Studies Focus Group at the Association of Theatre in
Higher Education (ATHE) conference invites submissions of papers for
its Emerging Scholars’ Panel. The theme of the conference is
‘Performance Remains, Global Presence: Memory, Legacy, and Imagined
Futures’ and it takes place at the Palmer House Hilton Hotel in
Chicago, Illinois from August 11-14, 2011.

The PSFG Emerging Scholars’ Panel represents an opportunity for
researchers to present their work at a major international conference
for the first time. Selected Emerging Scholars will be paired with a
mentor from the field of Performance Studies who will offer critical
feedback on submitted papers in order to help prepare them for
presentation at the conference. ATHE PSFG will also provide successful
applicants with complimentary registration to the ATHE PSFG
Pre-Conference.

Performance Studies locates itself at the boundaries and intersections
of scholarly and artistic practice. It embraces aesthetic and academic
interdisciplinarity, as well as the challenges, risks, and
innovations that are part of such inclusionary practices. Performance
also acts as a critical model for theorizing cultural and social
action, providing a lens and practice through which technological and
cultural innovations can be processed. How do performance conditions,
practices, and innovations facilitate processes of memory, history,
historiography, and imagination? How can performance studies deploy
these conditions, practices, and innovations in an effort to trouble
received understandings of temporality, of the present, and of the
‘global present’ specifically? Of presence, and of ‘global presence’
specifically? What tactics can performance deploy in the efforts to
resist or subvert increasingly globalized networks of power,
domination, and capital? In what ways do processes of globalization
threaten, complicate, or facilitate performance’s ability to conceive
of itself in terms of remainder (or disappearance), presence (or
absence)? How do performance artists, practitioners, and scholars
imagine their own futures? What, and how, does the pastness of
performance legate to the future of performance? What can a focus on
remainder, and on temporal categories more generally, reveal about
disciplinary and aesthetic habits? What does such a focus risk
obscuring or leaving out?

Submissions to the PSFG Emerging Scholars’ panel might engage these
disciplinary
questions, or a range of others around the conference theme. Papers
across performance modes and historical periods are welcomed. Topics
might include:

- contested boundaries between performance, theatre and other artforms
- emergent technologies in performance
- performance as a modality of (historical) knowledge
- historiographical approaches to performance
- negotiating/ building identity in performance
- remainder and the so-called death of the avant-garde
- performances that disrupt the presence of the physical body
- conflict and confrontation in the performance encounter
- performativity and theatricality
- the relationships between performance and philosophy
- performance, emotion and affect
- complexity, ambiguity and paradox in performance
- performance as debate, negotiation, breakdown

Papers for the PSFG Emerging Scholars’ panel should be 8-10 pages in length
(double-spaced). The deadline for submission is 15 February 2011.
Please send completed papers (as attachments in Microsoft Word), with
institutional affiliation and contact information, to Joseph Cermatori
at jpc2143@columbia.edu. Successful applicants will be notified by the
end of March 2011.

Please contact Joseph with any other questions regarding the PSFG
Emerging Scholars’ panel at the email address above.

CALL FOR PAPERS Emerging Scholars Panel – American Theatre and Drama Society (ATDS)
The Association for Theatre in Higher Education (ATHE) 2011 Conference

Chicago, August 11–14, 2011
Palmer House Hilton Hotel
“Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures”

ATDS is pleased to announce its third annual emerging scholars panel, “Curtains Up,” introducing new scholarship in American, Black, Latina/o and Latin American Theatre and Drama. We invite new scholars who have not yet presented at a major national conference to submit papers. These papers can treat any aspect of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts.

While all submissions are encouraged, we particularly recommend submitting paper that also address the conference theme in some way. Essays might consider:
• the evolving debate exploring national identities and experiences through research, pedagogy, and practice
• how notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another
• the way that American theatre has been remembered, memorialized, or imagined
• the function of memory or legacy in the writing the history American theatre and drama
• how memory might be preserved or reshaped when local, spiritual practices are considered in a global discourse,
• how globalization has affected the legacy American theatre
• the future of the field of American Theatre and Drama

To be considered for this panel, please email your 8-10 page paper and contact information as a single Microsoft Word attachment to Megan Sanborn Jones (msjones@byu.edu) by February 28, 2011. Please include a cover page with your name, paper title, affiliation and contact information in the same attachment, and remove your name from the body of the essay. Essays will be evaluated on their originality, the quality of their writing and research, and their critical/theoretical sophistication.

Submissions will be vetted by a committee of select ATDS scholars. Two of the essays will be chosen for inclusion on this competitive panel. The selected authors are expected to attend the conference in August to present their papers. Winners will receive a year-long membership to ATDS, which includes subscription to the journal The Journal of American Drama and Theatre, as well as a $200 cash award. Successful applicants will be notified by the end of March 2011.

Contact Megan Sanborn Jones (msjones@byu.edu) with any questions
For more information on ATDS visit http://www.atds.org
For more information on the ATHE conference visit http://www.athe.org

Call for Papers
Collocated with IJCAI-11
Sponsored by the Association for the Advancement of Artificial Intelligence.
________________________________________
Technical Paper Submission Site http://icwsm.confmaster.net

January 31, 2011 Abstracts Due
February 7, 2011 (by 9:00 AM Pacific Time) Full Papers Due
________________________________________
The International Conference on Weblogs and Social Media is a unique forum that brings together researchers from the disciplines in computer science, linguistics, communication, and the social sciences. The broad goal of ICWSM is to increase understanding of social media in all its incarnations. Submissions describing research that blends social science and technology are especially encouraged.
Though this conference is relatively new, it has become one of the premier venues for social scientists and technologists to gather and discuss cutting-edge research in Social Media. This is largely due to a typical acceptance rate of 20% for full-length research papers and support from Association for the Advancement of Artificial Intelligence (AAAI).
For ICWSM-11, in addition to the usual program of contributed technical talks, tutorials and invited presentations, the main conference will include a selection of keynote talks from prominent social scientists and technologists. This year, for the first time, we will be expanding our workshop program and are planning an additional workshop day in addition to the usual tutorial and main conference. We have a received a number of exciting workshop proposals already and are looking forward to receiving many more. Also, since we will be collocating with IJCAI (for more details on IJCAI-11 see http://ijcai-11.iiia.csic.es/) there will be opportunities to connect with people in that community both formally and informally (joint social event is in the planning!).
Disciplines
• Computational Linguistics/NLP
• Text Mining/Data Mining
• Psychology
• Sociology (including Social Network Analysis)
• Anthropology, Communications, Media Studies
• Visualization
• Political Science
• Computational Social Science
• HCI
• Economics
• Graph theory, concrete analysis and simulation of graphical models
Media
• Weblogs, including comments
• Social Networking Sites
• Microblogs
• Wikis (wikipedia)
• Forums, usenet
• Community media sites: youtube, flickr
Topics Include
• Psychological, personality-based and ethnographic studies of social media
• Analyzing the relationship between social media and mainstream media
• Qualitative and quantitative studies of social media
• Centrality/influence of social media publications and authors
• Ranking/relevance of blogs; web page ranking based on blogs
• Social network analysis; communities identification; expertise and authority discovery; collaborative filtering
• Trust; reputation; recommendation systems
• Human computer interaction; social media tools; navigation and visualization
• Subjectivity in textual data; sentiment analysis; polarity/opinion identification and extraction
• Text categorization; topic recognition; demographic/gender/age identification
• Trend identification and tracking; time series forecasting; measuring predictability of phenomena based on social media
• New social media applications; interfaces; interaction techniques
Keynotes
• Sinan Aral, Stern Business School, NYU
• Manuel Castells, University of Southern California (USC) Annenberg School for Communication [Tentative]
Author Registration
Authors must register at the ICWSM-11 web-based technical paper submission site (http://icwsm.confmaster.net). The software will assign a password, which will enable the author to log on to submit an abstract and paper. In order to avoid a rush at the last minute, authors are encouraged to register as soon as possible, and well in advance of the January 31, 2011 abstract deadline.
Abstract and Paper Submission
Electronic abstract submission through the ICWSM-11 paper submission site (http://icwsm.confmaster.net) is required on or preferably before January 31, 2011 at 11:59 PM PST. Full papers are due via the submission site no later than Monday, February 7, 2011 at 9:00 AM PST. We cannot accept submissions by e-mail or fax.
Authors will receive confirmation of receipt of their abstracts and papers, including an ID number, shortly after submission. AAAI will contact authors again only if problems are encountered with papers.
Content Guidelines
Submissions to to other conferences or journals: ICWSM-11 will not accept any paper that, at the time of submission, is under review for or has already been published or accepted for publication in a journal or conference. This restriction does not apply to submissions for workshops and other venues with a limited audience. If in doubt please contact the PC Chairs.
If duplicate submissions are identified during the review process then:
• All submissions from that author will be disqualified from the current ICWSM conference;
• And authors will not be permitted to submit papers to the ICWSM conference in the following year.
Format:Papers must be in trouble-free, high resolution PDF format, formatted for US Letter (8.5″ x 11″) paper, using Type 1 or TrueType fonts. Full papers must be no longer than 8 pages, including references, poster papers must be no longer than 4 pages, and demo descriptions must be no longer than 2 pages, and all must be submitted by the deadlines given above, and formatted in AAAI two-column, camera-ready style (see theauthor instructions page ). Please note that the formatting and submission instructions at the author site are for final, accepted papers; no additional pages can be purchased at the review stage. In addition, the copyright slug may be omitted in the initial submission phase and no copyright form is required until a paper is accepted for publication.
Anonymity: ICWSM 2011 review is double-blind. Therefore, please anonymize your submission: do not put the author(s) names or affiliation(s) at the start of the paper, and do not include funding or other acknowledgments in papers submitted for review. Citations to authors’ own prior relevant work should be included, either by not specifying that this is the authors’ own work, or where this is not possible, by anonymizing the citation itself. It is up to the authors’ discretion how much to further modify the body of the paper to preserve anonymity. The requirement for anonymity does not extend outside of the review process, e.g. the authors can decide how widely to distribute their papers over the Internet before the program committee meeting. Even in cases where the author’s identity is known to a reviewer, the double blind process will serve as a symbolic reminder of the importance of evaluating the submitted work on its own merits without regard to authors’ reputation.
Language: All submissions must be in English.
Conference Registration
All accepted papers and extended abstracts will be published in the conference proceedings. At least one author must register for the conference by the deadline for camera-ready copy submission. In addition, the registered author must attend the conference to present the paper in person.
Publication
All accepted papers and abstracts will be allocated eight (8) pages in the conference proceedings. Authors will be required to transfer copyright of their paper to AAAI.
Data Challenge
ICWSM-11 will once again hold a data challenge featuring a freely-available dataset and a half-day workshop at the conference. Details will be posted on the conference website.
Conference Website
http://icwsm.org/
For general information regarding ICWSM-11, please write to icwsm11@aaai.org.
Committee
General Chairs
• Nicolas Nicolov, J.D.Power and Associates, McGraw-Hill
• James G. Shanahan, Independent Consultant
Program Chairs
• Lada Adamic, University of Michigan
• Ricardo Baeza-Yates, Yahoo! Research
• Scott Counts, Microsoft
Local Chairs
• Alex Jaimes, Yahoo! Research
• Ricard Ruiz de Querol, Barcelona Media Innovation Center
Sponsorship Chairs
• Ron Kass, Pidgin Technologies
Data Challenge Chairs
• Ian Soboroff, NIST
Demo Chairs
• Ido Guy, IBM Reseach
Publicity Chairs
• danah boyd, Microsoft Research & Harvard University
Tutorials Chairs
• John Breslin, NUI Galway
Webmaster
• Ritesh Agrawal, AT&T Labs Research
Webdesigner
• Disco Gerdes, Mutual Mobile
Venue
Barcelona, Spain
Student Awards
We will be providing a limited number of student awards to help cover the cost of travel, subsistence, and registration to the ICWSM-11 conference. Details will be posted on the conference website.
Important Dates
Papers / Posters / Demos
• Abstract Submission: January 31, 2011
• Full Paper Submission: February 7, 2011 (by 9:00 AM Pacific Time)
• Notification of Acceptance March 18, 2011
• Camera Ready Due: April 4, 2011
• Conference: Barcelona July 17-21, 2011
Tutorials
• Tutorial Proposal Submission: February 18, 2011
• Tutorial Acceptance: March 4, 2011
Data Workshop
• Data Workshop Paper Submission: March 22, 2011
• Workshop Paper Acceptance Notification: April 8, 2011
Additional Workshops
• Workshop Proposal Submission: January 7, 2011
• Workshop Acceptance: January 18, 2011
• Workshop Paper Submission: March 22, 2011
• Workshop Paper Acceptance Notification: April 8, 2011
Kind regards,
Jimi and Nicolas
ICWSM-11 Co-chairs
Nicolas Nicolov, Microsoft
James G. Shanahan, Independent Consultant

Extended Deadline for CFP
Emerging Scholars Panel – Religion and Theatre Focus Group
The Association for Theatre in Higher Education (ATHE) 2011 Conference

Extended Deadline: March 11, 2011
Note: Papers will be considered as they are received. It is recommended that papers be submitted before the extended deadline.

Information:
Chicago, August 11–14, 2011
Palmer House Hilton Hotel
“Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures”

The Religion and Theatre Focus Group invites new scholars who have not yet presented at a major national conference to submit papers to its 2011 Emerging Scholars Panel. These papers will consider how religion and theatre correspond and interact, particularly in performative and global terms. “Religion” and “theatre” may both be conceived broadly, and can include spirituality, spiritual practice, religion as institution, and theology, as well as drama, performance, and performativity. The Religion and Theatre Focus Group is particularly interested in engaging such questions as: What does the phrase “religion and theatre” signify? What is its place in the academy and education? How might religion or spirituality as a way of knowing create new understandings of what it means to perform in and with a community?

The theme for the 2011 conference is “Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures.” Accordingly, while all submissions are encouraged, we recommend submitting papers which address the conference theme in some way. Essays might consider the relationships negotiated between religion, theatre, and temporality within performance. How might memory be preserved or reshaped when local, spiritual practices are considered in a global discourse? How has globalization affected the legacy of religion and theatre? How does spiritual performance constitute, challenge, or interact with notions of a past, a present, and a future? In what ways are religion and theatre forces that provide spaces which archive memory and predict possibilities?

For this conference, the Religion and Theatre Focus Group will only be accepting completed conference papers for consideration. Papers should be approximately 10 pages in length. Submissions will go through a blind vetting process; do not include your name or academic affiliation within the paper. Additionally, when submitting, include a 200-word abstract.

Please send your paper and abstract as a single Word document (with the abstract on the first page by itself) by MARCH 11, 2011 to:

Allan Davis
Brigham Young University
allan.and.davis@gmail.com

Save the document file name in the following format: R&T ES [Title of your paper]. In the body of your email, include your name, affiliation, paper title, mailing address, phone number, email address, and short bio. Please specify what AV equipment you will require. You can find out more about ATHE at http://www.athe.org. We look forward to your submission!

Best regards,
Allan Davis
Graduate Student Representative
Religion and Theatre Focus Group, ATHE

Call For Papers

Culture Unbound

Culture Unbound: Journal of Current Cultural Research is an academic journal

for border-crossing cultural research, including cultural studies as well as other

interdisciplinary and transnational currents. It serves as a forum with a wider scope

than existing journals for cultural studies or other, more specific, subfields of

cultural research and it is globally open to articles from all areas in this large field.

http://www.cultureunbound.ep.liu.se/index.html

Shanghai Moderne: the Future in Microcosm?

Guest Editors: Justin O’Connor and Xin Gu

Queensland University of Technology

When an awestruck Paris Hilton looked out over Shanghai’s Pudong district in 2007

and said it looked ‘like the future’ she was not only airing a contemporary cliché but

connecting with a longer history of the city as powerhouse of China’s modernity.

Shanghai is where modernity – the word, the concept, the reality – made landfall in

China in the mid-19th century. By the 1940s it was a city comparable with any of the

world’s major metropolitan centres. Held in suspicion by the People’s Republic after

1949, it remained China’s industrial and sometimes political powerhouse – even if its

culture, along with its built environment, remained preserved in the amber of neglect

and poverty. Missing out on the first wave of Deng’s reforms in the 1980s, Shanghai

finally took off in the early 1990s with a speed and a skill that suggested long buried

resources of entrepreneurial vision and global connections.

The city has been happy to trade on its glamorous global past as it made its way to

becoming China’s commercial capital, and its citizens constantly proclaim it to be the

nation’s ‘most western city’. But what is the reality of this powerful narrative? The

city certainly has its fair share – and more – of the social costs of the global city:

social and spatial fragmentation, poverty and displacement, the juxtaposition of the

super-rich and the poor who service them. It is also surprisingly culturally cautious,

with the avant-garde in ‘art’ and ‘popular culture’ located in ‘conservative’ Beijing.

And its economy is driven more than in any other city by large state-owned

enterprises belying its image as a free market entrepreneurial nirvana. It’s a party

town, but not in the way Ms. Hilton might understand this.

In this issue we ask: if the future is slouching to Shanghai to be born, what kind of

future is it? Where is it going , what are its costs, who is benefiting, and what kind of

past is it leaving in its wake. What will it mean for China and beyond.

We are therefore calling for papers on all aspects of Shanghai and its future(s).

Themes might be:

Contemporary art and culture

Popular Culture

‘Alternative’ or ‘marginal’ lifestyles

Cultural/ creative industries

Popular protest and conflicts of everyday life

Urban Regeneration and Planning

Cultural policy and city branding

We are also looking for relevant book reviews in this issue!

The deadline for papers is 30th June 2011 to allow referee reports, revision and a

publication date by the end of the year. Please send enquires and complete papers to

justin.oconnor@qut.edu.au and x1.gu@qut.edu.au

For guide for authors please refer to:

http://www.cultureunbound.ep.liu.se/instructions-for-authors.html.

CFP: LGBT Debut Panel for ATHE 2011 (“A Queerer Time, A Queerer Place”)

The Lesbian, Gay, Bisexual, and Transgender Focus Group of the Association for Theatre in Higher Education (ATHE) invites submissions for its debut panel from scholars who have not yet presented at a national conference. The deadline for submissions is March 31, 2011.

The overarching theme for the 2011 ATHE Conference in Chicago is “Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures,” which has inspired the LGBT Focus Group’s riff on that theme, ““A Queerer Time, A Queerer Place.” As the conference on the whole challenges us to transcend national borders and disciplinary lines, as well as to think about theatre’s ostensible insistence on repetition and presence, the LGBT Focus Group is especially interested in presentations exploring the specific ways in which LGBTQ scholars, performers, audiences, educators, and students negotiate the local, the global, time, space, and their queer interpenetrations. At the same time, all proposals on LGBT theatre and performance will receive equal consideration.

Both graduate students and faculty members are eligible to submit. Submissions will be evaluated and selected for presentation by a jury of scholars of theatre and performance, who are yet to be named.

Selection of papers is competitive. Authors of selected papers will present them at the ATHE conference, which will be held August 11-14, 2011, at the Palmer House Hilton Hotel in Chicago, Illinois. All presenters must register and pay the appropriate fees for the conference. Conference presenters should be ATHE members unless they work outside the academic study of theatre and performance. For information on the conference (including applicable costs), please visit http://www.athe.org/conference/index.

Papers should be an appropriate length for a 15- to 20-minute presentation (approximately eight pages). Submit your paper and a cover sheet as email attachments to LGBT Conference Planner Nick Salvato (ngs9@cornell.edu). You should receive an acknowledgment of receipt within two days.

To maintain anonymity, please do not put your name in the body of the paper. On the cover sheet, include the title of your paper, your name, address, telephone number, and email address. Applicants will be informed of the judges’ decisions by May 1, 2011. Questions or concerns may be directed to Nick Salvato.

Call for Submissions

CHILDREN AND THEATRE

Special Issue of The Lion and the Unicorn

This special issue of The Lion and the Unicorn invites submissions focused children and theatre. Among other things, essays could focus on:

 Professionally produced plays based on children’s books such as H.
Savile Clarke’s Alice in Wonderland (1886), Frances Hodgson Burnett’s Little Lord Fauntleroy (1888), Rutland Barrington’s The Water Babies (1902), Marian De Forest’s Little Women (1912), or A. A. Milne’s Toad of Toad Hall (1929)  Other kinds of dramatic productions linked to children: pantomimes, Punch and Judy shows, puppet shows, pageants  Private theatricals performed by or for children  Drama in the schools (rhetoric and performance, plays performed by students, creative dramatics)  Children’s plays for home or school production by authors such as Maria Edgeworth, Hannah More, Christian Felix Weisse, Madame de Genlis, or Arnaud Berquin  Child actors and child audiences  Pioneering children’s theatre companies such as Franklin Sargent’s Children’s Theatre, Alice Minnie Herts’s Children’s Educational Theatre or the Grips Theatre in Berlin  Portrayals of child performers or children’s theatre in children’s literature by authors such as Noel Streatfeild, Jill Krementz, or Maurice Sendak  Theoretical or methodological studies of Children’s Theatre or Theatre for Young Audiences (What is it? How do we study it?)  Possible links between childhood studies and performance theory

Essays should be 15-20 pages (4,500-6,000 words). Please email your essay as a Word attachment to Dr. Marah Gubar at mjg4@pitt.edu by September 1, 2011.
Accepted essays will appear in the Summer 2012 issue. Or, if you prefer, you can mail a hard copy to Dr. Gubar at 526 C.L., English Department, 4200 Fifth Avenue, University of Pittsburgh, Pittsburgh PA 15260.

Call for Papers:

Performance and Analogue Technology: Interfaces and Intermedialities

This co-edited essay collection will explore analogue technology and performance in a study that is the first of its kind, carving out a new interdisciplinary field. From performative incubator babies to the eidophusikon, from ombres chinoises to automata, from pantomime fairies to the deus ex machina, this collection will be an original examination of the precursors of contemporary digital performance.

Intermediality did not begin with digital culture—we therefore invite newly theorised papers examining interfaces between the body and analogue technology and the resultant intermediality. Burgeoning discourses on intermediality have focussed on the interactions/ interfaces between performers and digital technology in contemporary theatre. However, the historical parallel of performer and analogue technology remains relatively under-explored. We will examine the role of technology and media within theatre, performativity and cultural performances before digital technology.

In addition to the acknowledged performer/spectator/spatial relationships between the theatre and spectacular technologies, we are also interested in essays on other areas and sites of performance, for instance, pleasure gardens, scientific exhibitions, the international expositions, automata/ puppets, and the performative use of technology in everyday life. Of particular interest are those papers that examine the lived experience of real material bodies in performance, as well as those that attempt to locate the epistemological or phenomenological impact of experiencing these technologies for the first time.

Please submit abstracts of 300 words by 1 March 2011 to editors Caroline Radcliffe c.radcliffe@bham.ac.uk and Kara Reilly k.reilly@bham.ac.uk (This proposal is currently under discussion with Palgrave).

Call for Papers for The Sharon Pollock: First Woman of Canadian Theatre Conference to be held at the University of Calgary from March 28 to 31, 2012.

On the seventy-fifth anniversary of the birth of Canadian dramatist Sharon Pollock, a multi-disciplinary panel of scholars from the University of Calgary is proud to host an Academic Conference on March 29-31, 2012, celebrating the astounding range of work from this internationally acclaimed playwright, actor, artistic director, and teacher. Sharon Pollock has been a leading voice in the national theatre scene, and her work continues to reflect the diversity of Canadian culture. This conference is part of a celebration of her career during the same week, which will include readings, technical workshops, and special cultural events, with Pollock in attendance. Therefore, we invite scholars and students of Pollock’s work to submit paper proposals, which address the multi-faceted range of Pollock’s work, and the various aesthetic, political, and cultural themes foregrounded in her plays. Scholars may also put together, and submit for consideration, panels highlighting an area of Pollock’s work. Proposals may also address Sharon Pollock’s CBC radio plays.
Following is a list of suggested topics for presentations, but the list is not exclusive. Participants are free to propose their own queries, based on individual areas of research, and interest.

 Pollock’s plays as autobiographical work, and the cross-fertilization of events, ideas, and characters.

 The challenges of being human, as reflected in her characters’ struggle to
overcome political and social injustices, prejudices, and domination.

 The playwright as political activist. In what ways has Pollock been influential as a political playwright?

 Pollock’s place in the history of Canadian theatre and her increasing role on the international stage.

 Pollock’s role as a woman artistic director and her views on theatre management.

 Pollock’s involvement in community theatre as mentor to young actors, writers, and directors.

 Feminist perspectives and theories on her work. How do the plays reflect, or produce new ideas on feminist representation on stage?

 Women on the Verge: Pollock’s heroines, often artistic or creative figures, and their tenuous hold on reality.

 Pollock’s border crossings and postcolonial studies of her work, as well as her representations of marginalized characters and minorities.

 Transformation and Performativity on stage. Who do her characters want to be, and who are they pretending to be?

 How has innovative staging contributed to the appreciation of her work?

 Is Pollock part of the Angry Young Women playwrights? How does violence work in her plays?

 The lure of the forbidden in Pollock’s plays: Is Pollock’s use of taboo subjects spectacular or spectacle?

Interested participants should submit a comprehensive 250-word abstract of their paper and a brief one-paragraph bio to Dr. Donna Coates, Associate Professor, Department of English at the University of Calgary, at dcoates@ucalgary.ca by April 1, 2011.

AMERICAN SOCIETY FOR THEATRE RESEARCH/ THEATRE LIBRARY ASSOCIATION 2011 CONFERENCE

Montreal, Quebec Canada

November 17 – 20, 2011

Fairmont The Queen Elizabeth Hotel

Economies of Theatre

Theatre is an economy unto itself. It is a practice of representation and exchange. It deals in substitutions and sleights of hand, seeming always to offer one thing in return for another. Theatre manages its own systems of debt and collateral, trades in trust and credulity, traffics in goods, services and persons. It provokes love, pity and fear for its promiscuous commodification of the world.

Theatre is also one of those places in a wider economy at which production and consumption, work and leisure take place simultaneously and in each other’s presence. Theatre is therefore a place where the relations between production and consumption, work and leisure are variously obscured, enchanted and explored.

Some forms of theatre and performance seek to evade or resist the economic structures within which they operate, while others are entangled with the market and its vicissitudes in ways that attract both the suspicion and the fascination of both artists and scholars.

All this might amount to little were theatre not also an economy of feelings: a space and a practice constituted by the circulation of images, the transmission of affect and a multitude of peculiar investments of time and of thought.

The Program Committee invites proposals for plenary session presentations that offer new thinking or provoke fresh questions about the theatre and its many economies. We are open to all proposals that address the broad theme of the conference, addressing theatre and performance from any historical period or geographical / cultural location, including, but not exclusively, questions of:
• theatre and performance in terms of marketplaces, commerce, subsidy, financialization, wages, exploitation, consumption, overheads, capitalization, profit and loss, and the not-for-profit;
• the role of theatre and performance in economic policy and its implementation, in urban development, tourism, cultural industries, heritage;
• the circulation of images and identities in the theatre and beyond – by means of economies involving substitution, representation, documentation, gossip, remediation, identification and disidentification;
• economies of affect and emotion: the movements of desire and passion, feelings and actions of reciprocity and non-reciprocity, love requited and unrequited;
• economies of the gift and of waste (of energy, time, resources);
• theatre and performance as queerings of productivity and resistances to logics of accumulation;
• the performativity of economics and finance (forecasting, confidence, credit).

Participation Guidelines

Plenary Presentations: We invite proposals for individual plenary papers and/or presentations. These presentations are “plenary” in the sense that they address the entire conference and nothing runs concurrently with them. Proposals should take the form of an abstract (max. 250 words) that includes name, affiliation, mailing and email addresses. Full-length papers will not be accepted. Individual presentations should not exceed 20 minutes. Those whose proposals are not selected for plenary presentations will have the opportunity to apply to a second call for participants in accepted working sessions.

Working Sessions: We invite proposals for working sessions. This category includes roundtables, seminars, research groups, reading groups, forums, workshops, as well as formats that have yet to be imagined. “Working sessions” is a general category that allows the session leader(s) to convene small groups around a proposed area of inquiry or practice, and to structure a method and format that best suits the goals of the group. No formats will be privileged over others; all proposals will be given equal consideration according to their merit. Proposals should include a rationale for the subject of the session and for its format, and must be accompanied by the “ASTR/TLA Working Sessions Proposal Form,” attached below. Proposals related to the conference theme are particularly welcome, but not necessary. Once the program committee has made its selection of working sessions, each session convener will be invited to issue a specialized call for participants for that session; this second round of calls for participants in working sessions will be posted on the ASTR and TLA websites, with a late May deadline for submission.

For more information about ASTR working sessions see:

http://www.astr.org/Conference/WorkingSessionsGuidelines

For an application form for ASTR working sessions: http://www.astr.org/files/ASTRpropsal%20form.doc

All submissions must be received by February 1, 2011 and should be sent as email attachments, in MS Word, to astr2011@gmail.com .

Inquiries are welcome. Please contact Nick Ridout at astr2011@gmail.com with program questions

or Nancy Erickson ( nericksn@aol.com ) with questions about conference logistics.

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