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: Speculative Criticism Deadline: September 1, 1998 Guest Editor: 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, and why? 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: http://www.uidaho.edu/~lolsen/paradoxa.html -- *********************************** L*A*N*C*E***O*L*S*E*N http://www.uidaho.edu/~lolsen C*A*F*E***Z*E*I*T*G*E*I*S*T *********************************** ________________________________________________________________ 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." -- Nietzsche ________________________________________________________________ ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama.