Here's a good publication opportunity for SCS members.
I recently guest edited an issue of Paradoxa on "The Return of the
Uncanny," so if you have any questions about the journal, feel free to
write me personally.
-- Michael Arnzen
------- Forwarded Message Follows -------
Date: Wed, 03 Dec 1997 11:02:39 +0000
From: Lance Olsen <[log in to unmask]>
To: Mike Arnzen <[log in to unmask]>
Subject: CALL FOR PAPERS
CALL FOR PAPERS:
PLEASE READ, SUBMIT, POST & DISTRIBUTE
The Future of Narrative:
Deadline: September 1, 1998
Lance Olsen, University of Idaho
[log in to unmask]
It is the nature of traditional criticism to keep a firm eye on the
rearview mirror, rediscovering, reevaluating, and renegotiating texts
that have cruised the narratological autobahn for years, decades, even
centuries. At their most adventurous, critical works will sometimes
hazard a brief glance out the side windows for a quick contemplation
of their immediate surroundings. This special issue of _Paradoxa_,
however, due to appear in the summer of 1999, invites submissions that
turn their attention forward to consider what narrative will look
like, sound like, and read like in the new millennium.
Some areas of investigation might include, though should in no way be
limited to: How will the continuing postmodern dissolution of
boundaries--between, say, prose and poetry, "creative" writing and
"critical," genre and genre, page and screen, "high" culture and
"low," "literature" and "paraliterature," atomic-based formats and
digital, geopolitical country and more fluid electronic
constellations--affect that trajectory? How will the advent of such
relatively new multimedia as hypertext, CD-Rom, and the World Wide Web
contribute to the always mutating shape and concerns of narrative?
Which young creators or groups of young creators will be worth keeping
a critical eye on? Which now-established creators or groups of
creators will or should fall from visibility, and how might this
influence the notion of canon reconfiguration? What changes can we
expect with regard to ideas of authorship, writing, language,
originality, the growing global technocracy, the marketplace,
publishing outlets, even how we have come to conceptualize art itself?
In a phrase: where in the world (and out of it) is narrative going,
We will consider both conventional offerings and those that themselves
cross generic or discursive boundaries, thereby critifictionally
enacting the mutations they are discussing, but all pieces (6,500
words maximum) should be lucid, jargon-free, and accessible to a
literate general audience. Style must conform to the _MLA Handbook for
Writers of Research Papers_, 4th ed. (1995).
For more information and further guidelines, please visit:
Michael A. Arnzen * Dept. of English * University of Oregon
"We use up too much artistry in our dreams --
and therefore often are impoverished during the day."
Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama.