March 16, 2012
·
2nd Global Conference: Beauty: Exploring Critical
Issues
Friday 21st September – Sunday 23rd September 2012; Mansfield College, Oxford, United Kingdom
Friday 21st September – Sunday 23rd September 2012; Mansfield College, Oxford, United Kingdom
Call for papers:
“The first real problem I faced in my life was that of beauty,”
wrote the poet-playwright- novelist Yukio Mishima, in Temple of the
Golden Pavilion as he pondered beauty’s relevance, meanings, and the
spell it cast over him. Beauty is complicated by the word beauty
itself. Limited or overloaded, beauty has been celebrated as essential
or denounced as irrelevant. The existence of beauty has been
challenged, called a search for El Dorado. Some find no beauty in
life, a recurring motif in subcultures, music lyrics, and the notes
left by suicides. Others dismiss that perspective, arguing that common
sense, experience, and multidisciplinary research reveal the reality
and centrality of beauty in our lives. But what exactly is beauty?
Speculations about the nature of beauty are various and contradictory.
Some philosophers have argued that it will remain a mystery. Other
theorists have held less modest beliefs, arguing that beauty expresses
a basic spiritual reality, has universal physical properties, or is an
experience and construction of mind and culture. The beauty
‘project’ will explore, assess, and map a number of key core
themes.These will include:
“The first real problem I faced in my life was that of beauty,”
wrote the poet-playwright- novelist Yukio Mishima, in Temple of the
Golden Pavilion as he pondered beauty’s relevance, meanings, and the
spell it cast over him. Beauty is complicated by the word beauty
itself. Limited or overloaded, beauty has been celebrated as essential
or denounced as irrelevant. The existence of beauty has been
challenged, called a search for El Dorado. Some find no beauty in
life, a recurring motif in subcultures, music lyrics, and the notes
left by suicides. Others dismiss that perspective, arguing that common
sense, experience, and multidisciplinary research reveal the reality
and centrality of beauty in our lives. But what exactly is beauty?
Speculations about the nature of beauty are various and contradictory.
Some philosophers have argued that it will remain a mystery. Other
theorists have held less modest beliefs, arguing that beauty expresses
a basic spiritual reality, has universal physical properties, or is an
experience and construction of mind and culture. The beauty
‘project’ will explore, assess, and map a number of key core
themes.These will include:
1. Understanding Beauty
- Defining beauty
- Theorising beauty
- Power of beauty
- History of beauty
- Politics of beauty
- Culture of beauty
- Religion of beauty
2. Experiences of and Representations of Beauty
- Pursuit of beauty
- Expressions of beauty
- Appearance of beauty
- Making beauty
- Documenting beauty
- Emotion and beauty
- Beauty and seduction
- Representing beauty in art, literature and popular culture
3. Beauty and Nature
-Beauty and the natural world
-Beauty and the Sublime
-Beauty and desire
-Science and mathematics of beauty
-Medical aspects of beauty
4. Beauty, Culture, and Identity
- Beauty subcultures
- Beauty and social stratification: gender, sexuality, class, race,
ethnicity, age, etc.
- Beauty collectors
- Beauty specialists
- Beauty disciples
-Enhancing the body beautiful: cosmetics, tattoos, piercings,
surgical interventions, and other forms of body modification
5. The Business of Beauty
-Beauty and consumer culture
-Beauty and cultural capital
-Beauty professions and trades
-Beauty cities
-Beauty marketing and forecasting
-Professional beauties (models, actors, celebrities, beauty pageants
etc.)
-Fashion and beauty
-Glamour and beauty
6. Diminishing the Beautiful
-Beauty and transgression
-Beauty and ugliness
-Beauty and aging
-Defiling the beautiful
-Destroying the beautiful
-Beauty and death
-Beauty and decay
The Steering Group particularly welcomes the submission of pre-formed
panel proposals. Papers will also be considered on any related theme.
300 word abstracts should be submitted by Friday 16th March 2012. If
an abstract is accepted for the conference, a full draft paper should
be submitted by Friday 22nd June 2012. Abstracts should be submitted
simultaneously to both Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats with the following information and in this
order: a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords
E-mails should be entitled: Beauty Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using
footnotes and any special formatting, characters or emphasis (such as
bold, italics or underline). Please note that a Book of Abstracts is
planned for the end of the year. All accepted abstracts will be
included in this publication. We acknowledge receipt and answer to all
paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be
lost in cyberspace! We suggest, then, to look for an alternative
electronic route or resend.
The conference is part of the Critical Issues series of research
projects. The aim of the conference is to bring together people from
different areas and interests to share ideas and explore various
discussions which are innovative and exciting. All papers accepted for
and presented at this conference are eligible for publication in an
ISBN eBook. Selected papers may be invited to go forward for
development into a themed ISBN hard copy volume.
http://www.inter-disciplinary.net/critical-issues/ethos/beauty/
panel proposals. Papers will also be considered on any related theme.
300 word abstracts should be submitted by Friday 16th March 2012. If
an abstract is accepted for the conference, a full draft paper should
be submitted by Friday 22nd June 2012. Abstracts should be submitted
simultaneously to both Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats with the following information and in this
order: a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords
E-mails should be entitled: Beauty Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using
footnotes and any special formatting, characters or emphasis (such as
bold, italics or underline). Please note that a Book of Abstracts is
planned for the end of the year. All accepted abstracts will be
included in this publication. We acknowledge receipt and answer to all
paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be
lost in cyberspace! We suggest, then, to look for an alternative
electronic route or resend.
The conference is part of the Critical Issues series of research
projects. The aim of the conference is to bring together people from
different areas and interests to share ideas and explore various
discussions which are innovative and exciting. All papers accepted for
and presented at this conference are eligible for publication in an
ISBN eBook. Selected papers may be invited to go forward for
development into a themed ISBN hard copy volume.
http://www.inter-disciplinary.net/critical-issues/ethos/beauty/
March 16
·
4th Global Conference Strangers, Aliens and
Foreigners
Friday 21st September 2012 – Sunday 23rd September 2012
Mansfield College, Oxford, United Kingdom
Friday 21st September 2012 – Sunday 23rd September 2012
Mansfield College, Oxford, United Kingdom
Call for Papers
This multi-disciplinary project seeks to explore the crucial place
that strangers, aliens and foreigners have for the constitution of
self, communities and societies. In particular the project will assess
world transformations, like phenomena we associate with the term
‘globalisation’, new forms of migration and the massive movements
of people across the globe, as well as the impact they have on the
conceptions we hold of self and other. Looking to encourage innovative
trans-disciplinary dialogues, we warmly welcome papers from all
disciplines, professions and vocations which struggle to understand
what it means for people, the world over, to forge a sense of self in
rapidly changing contexts where it is no longer possible to ignore the
importance of strangers, aliens and foreigners for our contemporary
nations, societies and cultures.
Papers, workshops and presentations are invited on any of the
following themes:
This multi-disciplinary project seeks to explore the crucial place
that strangers, aliens and foreigners have for the constitution of
self, communities and societies. In particular the project will assess
world transformations, like phenomena we associate with the term
‘globalisation’, new forms of migration and the massive movements
of people across the globe, as well as the impact they have on the
conceptions we hold of self and other. Looking to encourage innovative
trans-disciplinary dialogues, we warmly welcome papers from all
disciplines, professions and vocations which struggle to understand
what it means for people, the world over, to forge a sense of self in
rapidly changing contexts where it is no longer possible to ignore the
importance of strangers, aliens and foreigners for our contemporary
nations, societies and cultures.
Papers, workshops and presentations are invited on any of the
following themes:
1. Transformations of Self
~ How is Self interweaved with Other? And the many ways in which Self
depends on Other
~ Acknowledging the importance of strangers for our lives, for our
sense of well-being
~ Recognising our dependence on aliens and foreigners for our
communities, cities and towns, for our countries and nations
~ The decline of the value of sameness and homogeneity, the rise of
diversity and plurality
~ Opposing the construction of self by othering, excluding and
stigmatising
2. Boundaries, Communities and Nations
~ Who is a stranger? Aliens and foreigners to whom?
~ New migrants, new migratory flows and massive movements from
peripheral to central countries
~ Trans-national networks and the blurring of boundaries; are we
living trans-national and post-national realities?
~ Assimilation, integration, adaptation and other forms of placing
the responsibility of change on foreigners
~ What has happened to ideas like acceptance, hospitality and
cosmopolitanism
3. Economies, Institutions and Migrants
~ Labour migration as key for economic growth and prosperity
~ The politics of making aliens, foreigners and migratory labour
‘invisible’
~ Global politics of money over people; new forms of global exclusion
~ Social movements, new rebellion and alternative globalisations
~ Trans-cultural connections that escape institutional and political
control
4. Art and Representations
~ Production and reproduction of cultural typing and stereotyping
~ The contested space of representing self and other, native and
foreigner
~ Art, media and how to challenge the rigid constructions of art and
culture
~ Fictions of strangers, stories of aliens, fables of foreigners
~ The artistic constructions of otherness
5. Self (inevitably) linked to Other
~ De-centering selves; who am I if not the relation with others?
~ Thinking and acting with others in mind; orienting life
inter-subjectively
~ Tensions, contradictions and conflicts of living recognising aliens
and foreigners
~ Bonds of care across boundaries of inequality and exclusion,
ideologies and religions, politics and power, nations and geography
~ Non-recognition as social and cultural violence
~ How is Self interweaved with Other? And the many ways in which Self
depends on Other
~ Acknowledging the importance of strangers for our lives, for our
sense of well-being
~ Recognising our dependence on aliens and foreigners for our
communities, cities and towns, for our countries and nations
~ The decline of the value of sameness and homogeneity, the rise of
diversity and plurality
~ Opposing the construction of self by othering, excluding and
stigmatising
2. Boundaries, Communities and Nations
~ Who is a stranger? Aliens and foreigners to whom?
~ New migrants, new migratory flows and massive movements from
peripheral to central countries
~ Trans-national networks and the blurring of boundaries; are we
living trans-national and post-national realities?
~ Assimilation, integration, adaptation and other forms of placing
the responsibility of change on foreigners
~ What has happened to ideas like acceptance, hospitality and
cosmopolitanism
3. Economies, Institutions and Migrants
~ Labour migration as key for economic growth and prosperity
~ The politics of making aliens, foreigners and migratory labour
‘invisible’
~ Global politics of money over people; new forms of global exclusion
~ Social movements, new rebellion and alternative globalisations
~ Trans-cultural connections that escape institutional and political
control
4. Art and Representations
~ Production and reproduction of cultural typing and stereotyping
~ The contested space of representing self and other, native and
foreigner
~ Art, media and how to challenge the rigid constructions of art and
culture
~ Fictions of strangers, stories of aliens, fables of foreigners
~ The artistic constructions of otherness
5. Self (inevitably) linked to Other
~ De-centering selves; who am I if not the relation with others?
~ Thinking and acting with others in mind; orienting life
inter-subjectively
~ Tensions, contradictions and conflicts of living recognising aliens
and foreigners
~ Bonds of care across boundaries of inequality and exclusion,
ideologies and religions, politics and power, nations and geography
~ Non-recognition as social and cultural violence
The 2012 meeting of Strangers, Aliens and Foreigners will run
alongside a second of our projects on Beauty and we anticipate holding
sessions in common between the two projects. We welcome any papers or
panels considering the problems or addressing issues that cross both
projects. Papers will be considered on any related theme. 300 word
abstracts should be submitted by Friday 16th March 2012. If an
abstract is accepted for the conference, a full draft paper should be
submitted by Friday 22nd June 2012. 300 word abstracts should be
submitted to the Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords
E-mails should be entitled: Strangers Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any
special formatting, characters or emphasis (such as bold, italics or
underline). Please note that a Book of Abstracts is planned for the
end of the year. All accepted abstracts will be included in this
publication We acknowledge receipt and answer to all paper proposals
submitted. If you do not receive a reply from us in a week you should
assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.
March 16, 2012
·
1st
Global Conference: The Graphic Novel
Friday 7th September 2012 – Sunday 9th September 2012
Mansfield College, Oxford, United Kingdom
Friday 7th September 2012 – Sunday 9th September 2012
Mansfield College, Oxford, United Kingdom
·
“Behind
this mask there is more than just flesh. Beneath this mask
there is an idea… and ideas are bulletproof.” ― Alan Moore, V for Vendetta
Call for Papers:
This inter- and multi-disciplinary conference aims to examine,
explore and critically engage with issues in and around the
production, creation and reading of all forms of comics and graphic
novels. Taken as a form of pictographic narrative it has been with us
since the first cave paintings and even in the 21st century remains a
hugely popular, vibrant and culturally relevant means of communication
whether expressed as sequential art, graphic literature, bandes
dessinees, tebeos, fumetti, manga, manhwa, komiks, strips,
historietas, quadrinhos, beeldverhalen, or just plain old comics. (as
noted by Paul Gravett)
Whilst the form itself became established in the 19th Century it is
perhaps not until the 20th century that comic book heroes like
Superman (who has been around since 1938) became, not just beloved
characters, but national icons. With the globalisation of publishing
brands such as Marvel and DC it is no accident that there has been an
increase in graphic novel adaptations and their associated
merchandising. Movies such as X-men, Iron man, Watchmen and the recent
Thor have grossed millions of dollars across the world and many
television series have been continued off-screen in the graphic form,
Buffy, Firefly and Farscape to name a few.
Of course America and Europe is not the only base of this art form
and the Far East and Japan have their own traditions as well as a huge
influence on graphic representations across the globe. In particular
Japanese manga has influenced comics in Taiwan, South Korea, Hong
Kong, China, France and the United States, and have created an amazing
array of reflexive appropriations and re-appropriations, in not just
in comics but in anime as well.
Of equal importance in this growth and relevance of the graphic novel
are the smaller and independent publishers that have produced
influential works such as Maus by Art Spiegleman, Persepolis by
Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even
Jimmy Corrigan by Chris Ware that explore, often on a personal level,
contemporary concerns such as gender, diaspora, post-colonialism,
sexuality, globalisation and approaches to health, terror and
identity. Further to this the techniques and styles of the graphic
novel have taken further form online creating entirely web-comics and
hypertexts, as in John Cei Douglas’ Lost and Found and Shelley
Jackson’s Patchwork Girl, as well as forming part of larger
trans-media narratives and submersive worlds, as in the True Blood
franchise that invites fans to enter and participate in constructing a
narrative in many varied formats and locations.
This projects invites papers that consider the place of the comic or
graphic novel in both history and location and the ways that it
appropriates and is appropriated by other media in the enactment of
individual, social and cultural identity.
Papers, reports, work-in-progress, workshops and pre-formed panels
are invited on issues related to (but not limited to) the following
themes:
* Just what makes a Graphic Novel so Graphic and so Novel?:
~Sources, early representations and historical contexts of the form.
~Landmarks in development, format and narratology.
~Cartoons, comics, graphic novels and artists books.
~Words, images, texture and colour and what makes a GN
~Format, layout, speech bubbles and “where the *@#% do we go from
here?”
* The Inner and Outer Worlds of the Graphic Novel:
~Outer and Inner spaces; Thoughts, cities, and galaxies and other
representations of graphic place and space.
~ Differing temporalities, Chronotopes and “time flies”:
Intertextuality, editing and the nature of Graphic and/or Deleuzian
time.
~ Graphic Superstars and Words versus Pictures: Alan Moore v Dave
Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
~Performance and performativity of, in and around graphic
representations.
~Transcriptions and translations: literature into pictures, films
into novels and high/low graphic arts.
* Identity, Meanings and Otherness:
~GN as autobiography, witnessing, diary and narrative
~Representations of disability, illness, coping and normality
~Cultural appropriations, east to west and globalisation
~National identity, cultural icons and stereo-typical villains
~Immigration, postcolonial and stories of exile
~Representing gender, sexualities and non-normative identities.
~Politics, prejudices and polemics: banned, censored and comix that
are “just plain wrong”
~Other cultures, other voices, other words
* To Infinity and Beyond: The Graphic Novel in the 21st Century:
~Fanzines and Slash-mags: individual identity through appropriation.
~Creator and Created: Interactions and interpolations between
authors and audience.
~Hypertext, Multiple formats and inter-active narratives.
~Cross media appropriation, GN into film, gaming and merchandisng
and vice versa
~Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in
the Shell.
Papers can be accepted which deal solely with Graphic Novels. This
project will run concurrently with our project on Fear, Horror and
Terror – we welcome any papers considering the problems or
addressing issues on Fear, Horror and Terror and Graphic Novels for a
cross-over panel. We also welcome pre-formed panels on any aspect of
the Graphic Novel or in relation to crossover panel(s).
Papers will be accepted which deal with related areas and themes. 300
word abstracts should be submitted by Friday 16th March 2012. If an
abstract is accepted for the conference, a full draft paper should be
submitted by Friday 22nd June 2012. 300 word abstracts should be
submitted to the Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords
E-mails should be entitled: GN1 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any
special formatting, characters or emphasis (such as bold, italics or
underline). We acknowledge receipt and answer to all paper proposals
submitted. If you do not receive a reply from us in a week you should
assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.
The conference is part of the Education Hub series of research
projects, which in turn belong to the At the Interface programmes of
Inter-Disciplinary.Net. It aims to bring together people from
different areas and interests to share ideas and explore discussions
which are innovative and challenging. All papers accepted for and
presented at this conference are eligible for publication in an ISBN
eBook. Selected papers may be invited to go forward for development
into a themed ISBN hard copy volume or volumes.
there is an idea… and ideas are bulletproof.” ― Alan Moore, V for Vendetta
Call for Papers:
This inter- and multi-disciplinary conference aims to examine,
explore and critically engage with issues in and around the
production, creation and reading of all forms of comics and graphic
novels. Taken as a form of pictographic narrative it has been with us
since the first cave paintings and even in the 21st century remains a
hugely popular, vibrant and culturally relevant means of communication
whether expressed as sequential art, graphic literature, bandes
dessinees, tebeos, fumetti, manga, manhwa, komiks, strips,
historietas, quadrinhos, beeldverhalen, or just plain old comics. (as
noted by Paul Gravett)
Whilst the form itself became established in the 19th Century it is
perhaps not until the 20th century that comic book heroes like
Superman (who has been around since 1938) became, not just beloved
characters, but national icons. With the globalisation of publishing
brands such as Marvel and DC it is no accident that there has been an
increase in graphic novel adaptations and their associated
merchandising. Movies such as X-men, Iron man, Watchmen and the recent
Thor have grossed millions of dollars across the world and many
television series have been continued off-screen in the graphic form,
Buffy, Firefly and Farscape to name a few.
Of course America and Europe is not the only base of this art form
and the Far East and Japan have their own traditions as well as a huge
influence on graphic representations across the globe. In particular
Japanese manga has influenced comics in Taiwan, South Korea, Hong
Kong, China, France and the United States, and have created an amazing
array of reflexive appropriations and re-appropriations, in not just
in comics but in anime as well.
Of equal importance in this growth and relevance of the graphic novel
are the smaller and independent publishers that have produced
influential works such as Maus by Art Spiegleman, Persepolis by
Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even
Jimmy Corrigan by Chris Ware that explore, often on a personal level,
contemporary concerns such as gender, diaspora, post-colonialism,
sexuality, globalisation and approaches to health, terror and
identity. Further to this the techniques and styles of the graphic
novel have taken further form online creating entirely web-comics and
hypertexts, as in John Cei Douglas’ Lost and Found and Shelley
Jackson’s Patchwork Girl, as well as forming part of larger
trans-media narratives and submersive worlds, as in the True Blood
franchise that invites fans to enter and participate in constructing a
narrative in many varied formats and locations.
This projects invites papers that consider the place of the comic or
graphic novel in both history and location and the ways that it
appropriates and is appropriated by other media in the enactment of
individual, social and cultural identity.
Papers, reports, work-in-progress, workshops and pre-formed panels
are invited on issues related to (but not limited to) the following
themes:
* Just what makes a Graphic Novel so Graphic and so Novel?:
~Sources, early representations and historical contexts of the form.
~Landmarks in development, format and narratology.
~Cartoons, comics, graphic novels and artists books.
~Words, images, texture and colour and what makes a GN
~Format, layout, speech bubbles and “where the *@#% do we go from
here?”
* The Inner and Outer Worlds of the Graphic Novel:
~Outer and Inner spaces; Thoughts, cities, and galaxies and other
representations of graphic place and space.
~ Differing temporalities, Chronotopes and “time flies”:
Intertextuality, editing and the nature of Graphic and/or Deleuzian
time.
~ Graphic Superstars and Words versus Pictures: Alan Moore v Dave
Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
~Performance and performativity of, in and around graphic
representations.
~Transcriptions and translations: literature into pictures, films
into novels and high/low graphic arts.
* Identity, Meanings and Otherness:
~GN as autobiography, witnessing, diary and narrative
~Representations of disability, illness, coping and normality
~Cultural appropriations, east to west and globalisation
~National identity, cultural icons and stereo-typical villains
~Immigration, postcolonial and stories of exile
~Representing gender, sexualities and non-normative identities.
~Politics, prejudices and polemics: banned, censored and comix that
are “just plain wrong”
~Other cultures, other voices, other words
* To Infinity and Beyond: The Graphic Novel in the 21st Century:
~Fanzines and Slash-mags: individual identity through appropriation.
~Creator and Created: Interactions and interpolations between
authors and audience.
~Hypertext, Multiple formats and inter-active narratives.
~Cross media appropriation, GN into film, gaming and merchandisng
and vice versa
~Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in
the Shell.
Papers can be accepted which deal solely with Graphic Novels. This
project will run concurrently with our project on Fear, Horror and
Terror – we welcome any papers considering the problems or
addressing issues on Fear, Horror and Terror and Graphic Novels for a
cross-over panel. We also welcome pre-formed panels on any aspect of
the Graphic Novel or in relation to crossover panel(s).
Papers will be accepted which deal with related areas and themes. 300
word abstracts should be submitted by Friday 16th March 2012. If an
abstract is accepted for the conference, a full draft paper should be
submitted by Friday 22nd June 2012. 300 word abstracts should be
submitted to the Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords
E-mails should be entitled: GN1 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any
special formatting, characters or emphasis (such as bold, italics or
underline). We acknowledge receipt and answer to all paper proposals
submitted. If you do not receive a reply from us in a week you should
assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.
The conference is part of the Education Hub series of research
projects, which in turn belong to the At the Interface programmes of
Inter-Disciplinary.Net. It aims to bring together people from
different areas and interests to share ideas and explore discussions
which are innovative and challenging. All papers accepted for and
presented at this conference are eligible for publication in an ISBN
eBook. Selected papers may be invited to go forward for development
into a themed ISBN hard copy volume or volumes.
March 16
·
6th Global Conference Multiculturalism, Conflict
and Belonging
Sunday 16th September 2012 – Wednesday 19th September 2012
Mansfield College, Oxford, United Kingdom
Sunday 16th September 2012 – Wednesday 19th September 2012
Mansfield College, Oxford, United Kingdom
Call for Papers:
This multi-disciplinary project seeks to explore the new and
prominent place that the idea of culture has for the construction of
identity and the implications of this for social membership in
contemporary societies. In particular, the project will assess the
context of major world transformations, for example, new forms of
migration and the massive movements of people across the globe, as
well as the impact of globalisation on tensions, conflicts and on the
sense of rootedness and belonging. Looking to encourage innovative
trans-disciplinary dialogues, we warmly welcome papers from all
disciplines, professions and vocations which struggle to understand
what it means for people, the world over, to forge identities in
rapidly changing national, social and cultural contexts.
Papers, workshops and presentations are invited on any of the
following themes:
This multi-disciplinary project seeks to explore the new and
prominent place that the idea of culture has for the construction of
identity and the implications of this for social membership in
contemporary societies. In particular, the project will assess the
context of major world transformations, for example, new forms of
migration and the massive movements of people across the globe, as
well as the impact of globalisation on tensions, conflicts and on the
sense of rootedness and belonging. Looking to encourage innovative
trans-disciplinary dialogues, we warmly welcome papers from all
disciplines, professions and vocations which struggle to understand
what it means for people, the world over, to forge identities in
rapidly changing national, social and cultural contexts.
Papers, workshops and presentations are invited on any of the
following themes:
1. Challenging Old Concepts of
Self and Other
~ Who is Self and who is Other?
~ The new value of social diversity and cultural multiplicity;
breaking with homogeneity and sameness
~ What is the place of difference and alterity, of normality and
normalisation in defining identity and membership
~ How to account for social membership and cultural identity?
~ Making sense of transformations and their effects over culture,
identity and membership
~ Othering, excluding, stygmatising
2. Nations, Nationhood and Nationalisms
~ What does it mean, today, to belong to a nation?
~ New migrants, new migratory flows and massive movements from
peripheral to central countries
~ Resurgence of the local and the diminishing importance of the
national
~ Are we living post-national realities?
~ What is the place of cultural claims in today’s forms of social
membership?
~ Models of multiculturalism and the contemporary experience of
multiculturalism(s)
~ Assimilation, integration, adaptation and other forms of placing
the responsibility of change on the Other
3. Institutions, Organizations and Social Movements
~ Evaluating the promises and institutions of post-national governing
~ Institutions and organisations that do more for money than for
people
~ Political battles over globalization
~ Social movements, new rebellion and alternative globalizations
~ Trans-cultural connections that escape institutional and political
intentions or control
~ New forms of global exclusion
4. Persons, Personhood and the Inter-Personal
~ De-centering individuals and the making of persons; thinking and
acting with others in mind and interpersonally
~ Tensions, contradictions and conflicts of identity formation and
social membership
~ New sources and forms of belonging; new tribalism, localism,
parochialism and communitarianism
~ Bonds of care across boundaries of inequality and exclusion,
ideologies and religions, politics and power, nations and geography
~ Who am I if not the relation with others?
~ Non-recognition as cultural violence
5. Media and Artistic Representations
~ The role of new and old media in the construction of cultures and
identities, of nations and place
~ Production and reproduction of cultural typing and stereotyping
~ The contested space of representing culture, identity and belonging
~ Art, media and how to challenge the rigid and impenetrable
constructions of culture
~ Living, being and belonging through art
~ Life imitating art and fiction
6. Transnational Cultural Interlacing of Contemporary Life
~ What is shared from cultures? How are cultures shared? Who has
access to the sharing of cultures?
~ Cultural claims and human rights
~ Exploring multiculturalism as a plural experience: Shouldn’t we
be talking about multiculturalisms?
~ Living in a context with the cultural markers of a different
context: Is that transculturalism?
~ Languages, idioms and new emerging forms of wanting to bridge the
‘invisible’ divide of cultures
~ Symbols and significations that connect people to places other than
‘their own’
~ Culture, identity and belonging by choice
7. New Concepts, New Forms of Inclusion
~ Recognition and respect without exclusion
~ An ethics for social relations in a new millennium
~ What to do with historically old concepts like tolerance,
acceptance and hospitality?
~ Should not we all be strangers? Should not we all be foreigners?
~ Is there any use for cosmopolitanism these days?
~ Loving the other within the self; building fluid boundaries of
belonging and being
~ Who is Self and who is Other?
~ The new value of social diversity and cultural multiplicity;
breaking with homogeneity and sameness
~ What is the place of difference and alterity, of normality and
normalisation in defining identity and membership
~ How to account for social membership and cultural identity?
~ Making sense of transformations and their effects over culture,
identity and membership
~ Othering, excluding, stygmatising
2. Nations, Nationhood and Nationalisms
~ What does it mean, today, to belong to a nation?
~ New migrants, new migratory flows and massive movements from
peripheral to central countries
~ Resurgence of the local and the diminishing importance of the
national
~ Are we living post-national realities?
~ What is the place of cultural claims in today’s forms of social
membership?
~ Models of multiculturalism and the contemporary experience of
multiculturalism(s)
~ Assimilation, integration, adaptation and other forms of placing
the responsibility of change on the Other
3. Institutions, Organizations and Social Movements
~ Evaluating the promises and institutions of post-national governing
~ Institutions and organisations that do more for money than for
people
~ Political battles over globalization
~ Social movements, new rebellion and alternative globalizations
~ Trans-cultural connections that escape institutional and political
intentions or control
~ New forms of global exclusion
4. Persons, Personhood and the Inter-Personal
~ De-centering individuals and the making of persons; thinking and
acting with others in mind and interpersonally
~ Tensions, contradictions and conflicts of identity formation and
social membership
~ New sources and forms of belonging; new tribalism, localism,
parochialism and communitarianism
~ Bonds of care across boundaries of inequality and exclusion,
ideologies and religions, politics and power, nations and geography
~ Who am I if not the relation with others?
~ Non-recognition as cultural violence
5. Media and Artistic Representations
~ The role of new and old media in the construction of cultures and
identities, of nations and place
~ Production and reproduction of cultural typing and stereotyping
~ The contested space of representing culture, identity and belonging
~ Art, media and how to challenge the rigid and impenetrable
constructions of culture
~ Living, being and belonging through art
~ Life imitating art and fiction
6. Transnational Cultural Interlacing of Contemporary Life
~ What is shared from cultures? How are cultures shared? Who has
access to the sharing of cultures?
~ Cultural claims and human rights
~ Exploring multiculturalism as a plural experience: Shouldn’t we
be talking about multiculturalisms?
~ Living in a context with the cultural markers of a different
context: Is that transculturalism?
~ Languages, idioms and new emerging forms of wanting to bridge the
‘invisible’ divide of cultures
~ Symbols and significations that connect people to places other than
‘their own’
~ Culture, identity and belonging by choice
7. New Concepts, New Forms of Inclusion
~ Recognition and respect without exclusion
~ An ethics for social relations in a new millennium
~ What to do with historically old concepts like tolerance,
acceptance and hospitality?
~ Should not we all be strangers? Should not we all be foreigners?
~ Is there any use for cosmopolitanism these days?
~ Loving the other within the self; building fluid boundaries of
belonging and being
Papers will be considered on any related theme. 300 word abstracts
should be submitted by Friday 16th March 2012. If an abstract is
accepted for the conference, a full draft paper should be submitted by
Friday 22nd June 2012.
300 word abstracts should be submitted to the Organising Chairs;
abstracts may be in Word, WordPerfect, or RTF formats, following this
order: a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: Multiculturalism Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any
special formatting, characters or emphasis (such as bold, italics or
underline). Please note that a Book of Abstracts is planned for the
end of the year. All accepted abstracts will be included in this
publication. We acknowledge receipt and answer to all paper proposals
submitted. If you do not receive a reply from us in a week you should
assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.
should be submitted by Friday 16th March 2012. If an abstract is
accepted for the conference, a full draft paper should be submitted by
Friday 22nd June 2012.
300 word abstracts should be submitted to the Organising Chairs;
abstracts may be in Word, WordPerfect, or RTF formats, following this
order: a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: Multiculturalism Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any
special formatting, characters or emphasis (such as bold, italics or
underline). Please note that a Book of Abstracts is planned for the
end of the year. All accepted abstracts will be included in this
publication. We acknowledge receipt and answer to all paper proposals
submitted. If you do not receive a reply from us in a week you should
assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.
March 16
·
3rd Global Conference Space and Place
Monday 3rd September – Thursday 6th September 2012
Mansfield College, Oxford, United Kingdom
Monday 3rd September – Thursday 6th September 2012
Mansfield College, Oxford, United Kingdom
Call for Papers:
Questions of space and place affect the very way in which we
experience and recreate the world. Wars are fought over both real and
imagined spaces; boundaries are erected against the “Other”
constructed a lived landscape of division and disenfranchisement; and
ideology constructs a national identity based upon the dialectics of
inclusion and exclusion. The construction of space and place is also a
fundamental aspect of the creative arts either through the art of
reconstruction of a known space or in establishing a relationship
between the audience and the performance. Politics, power and
knowledge are also fundamental components of space as is the
relationship between visibility and invisibility. This new inter- and
multi-disciplinary conference project seeks to explore these and other
topics and open up a dialogue about the politics and practices of
space and place. We seek submissions from a range of disciplines
including archaeology, architecture, urban geography, the visual and
creative arts, philosophy and politics and also actively encourage
practioners and non-academics with an interest in the topic to
participate.
We welcome traditional papers, preformed panels of papers, workshop
proposals and other forms of performance – recognising that
different disciplines express themselves in different mediums.
Submissions are sought on any aspect of space and place, including the
following:
Questions of space and place affect the very way in which we
experience and recreate the world. Wars are fought over both real and
imagined spaces; boundaries are erected against the “Other”
constructed a lived landscape of division and disenfranchisement; and
ideology constructs a national identity based upon the dialectics of
inclusion and exclusion. The construction of space and place is also a
fundamental aspect of the creative arts either through the art of
reconstruction of a known space or in establishing a relationship
between the audience and the performance. Politics, power and
knowledge are also fundamental components of space as is the
relationship between visibility and invisibility. This new inter- and
multi-disciplinary conference project seeks to explore these and other
topics and open up a dialogue about the politics and practices of
space and place. We seek submissions from a range of disciplines
including archaeology, architecture, urban geography, the visual and
creative arts, philosophy and politics and also actively encourage
practioners and non-academics with an interest in the topic to
participate.
We welcome traditional papers, preformed panels of papers, workshop
proposals and other forms of performance – recognising that
different disciplines express themselves in different mediums.
Submissions are sought on any aspect of space and place, including the
following:
1. Theorising Space and Place
~Philosophies and space and place
~Surveillance, sight and the panoptic structures and spaces of
contemporary life
~Rhizomatics and/or postmodernist constructions of space as a
“meshwork of paths” (Ingold: 2008)
~The relationship between spatiality and temporality/space as a
temporal-spatial event (Massey: 2005)
~The language and semiotics of space and place
2. Situated Identities
~Gendered spaces including the tension between domestic and public
spheres
~Work spaces and hierarchies of power
~Geographies and archaeologies of space including Orientalism and
Occidentalism
~Ethnic spaces/ethnicity and space
~Disabled spaces/places
~Queer places and spaces
3. Contested spaces
~The politics and ideology of constructions and discourses of space
and place including the construction of gated communities as a
response to real/imagined terrorism.
~The relationship between power, knowledge and the construction of
place and space
~Territorial wars, both real and imagined.
~The relationship between the global and the local
~Barriers, obstructions and disenfranchisement in the construction of
lived spaces
~Space and place from colonisation to globalisation
~Real and imagined maps/cartographies of place
~Transnational and translocal places
4. Representations of place and space
~Embodied/disembodied spaces
~Lived spaces and the architecture of identity
~Haunted spaces/places and non-spaces
~Set design and the construction of space in film, television and
theatre
~Authenticity and the reproduction/representation of place in the
creative arts
~Technology and developments in the representation of space including
new media technologies and 3D technologies of viewing
~Future cities/futurology and space
~Representations of the urban and the city in the media and creative
arts
~Space in computer games
~Philosophies and space and place
~Surveillance, sight and the panoptic structures and spaces of
contemporary life
~Rhizomatics and/or postmodernist constructions of space as a
“meshwork of paths” (Ingold: 2008)
~The relationship between spatiality and temporality/space as a
temporal-spatial event (Massey: 2005)
~The language and semiotics of space and place
2. Situated Identities
~Gendered spaces including the tension between domestic and public
spheres
~Work spaces and hierarchies of power
~Geographies and archaeologies of space including Orientalism and
Occidentalism
~Ethnic spaces/ethnicity and space
~Disabled spaces/places
~Queer places and spaces
3. Contested spaces
~The politics and ideology of constructions and discourses of space
and place including the construction of gated communities as a
response to real/imagined terrorism.
~The relationship between power, knowledge and the construction of
place and space
~Territorial wars, both real and imagined.
~The relationship between the global and the local
~Barriers, obstructions and disenfranchisement in the construction of
lived spaces
~Space and place from colonisation to globalisation
~Real and imagined maps/cartographies of place
~Transnational and translocal places
4. Representations of place and space
~Embodied/disembodied spaces
~Lived spaces and the architecture of identity
~Haunted spaces/places and non-spaces
~Set design and the construction of space in film, television and
theatre
~Authenticity and the reproduction/representation of place in the
creative arts
~Technology and developments in the representation of space including
new media technologies and 3D technologies of viewing
~Future cities/futurology and space
~Representations of the urban and the city in the media and creative
arts
~Space in computer games
300 word abstracts should be submitted by Friday 16th March 2012. If
an abstract is accepted for the conference, a full draft paper should
be submitted by Friday 22nd June 2012. 300 word abstracts should be
submitted to the Organising Chairs; abstracts may be in Word,
WordPerfect, or RTF formats, following this order: a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords
E-mails should be entitled: SP Abstract Submission
Please use plain text (Times Roman 12) and abstain from using
footnotes and any special formatting, characters or emphasis (such as
bold, italics or underline). Please note that a Book of Abstracts is
planned for the end of the year. All accepted abstracts will be
included in this publication. We acknowledge receipt and answer all
paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be
lost in cyberspace! We suggest, then, to look for an alternative
electronic route or resend.
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