31/8/2019 – CFP: Histories and Cultures of Latinas: Suffrage, Activism and Women’s Rights

What, when & where

The XV Recovery conference will convene in Houston from February 20 to 22, 2020 to continue the legacy of scholars meeting to discuss and present their research. The conference theme invites scholars—including archivists, librarians, linguists, historians, critics, theorists and community members–to share examples of the cultural legacy they are recovering, preserving and making available about the culture of the Hispanic world whose peoples resided here, immigrated to or were exiled in the United States over the past centuries. This conference foregrounds the work of Latinas that focuses on women’s rights, suffrage and education as we usher in a new phase of feminist critical genealogies. We seek papers, panels and posters in either English or Spanish that highlight these many contributions, but also offer us critical ways to rethink issues of agency, gender, sexualities, race/ethnicity, class and power. Of particular interest are presentations about digital humanities scholarship, methods and practices on these themes.

The end date for Recovery research and themes will now be 1980 in order to give scholars, archivists, linguists and librarians the stimulus needed to begin recovering the documentary legacy of the 1960s and 1970s, which is fast disappearing. We encourage papers or panels that make use of archival research that provokes a revision of established literary interpretations and/or historiographies. Papers or posters on locating, preserving and making accessible movement(s) documents generated by Latinas and Latinos in those two decades will be welcome. Studies on the following themes, as manifested before 1960, will be welcome:

Digital Humanities
Analytical studies of recovered authors and/or texts
Critical, historical and theoretical approaches to recovered texts
Curriculum development: Integrating recovered texts into teaching at university and K-12 levels
Religious thought and practice
Folklore/oral histories
Language, translation, bilingualism and linguistics
Library and information science
Social implications, cultural analyses
Collections and archives: accessioning and critical archive studies
Documenting the long road/struggle toward equality
1960-1980 only movement(s)-related research

Deadline & how to apply

Submit your 250-word paper/poster abstract and vitae by email to recovery@uh.edu by August 31, 2019.


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31/7/2019 – CFP: Constellations. Connections, Disruptions, and Imaginations in Cinema and Beyond

What, when & where

Division of Cinema and Media Studies
University of Southern California

Constellations: Connections, Disruptions, and Imaginations in Cinema and Beyond.

Thursday, October 10 and Friday, October 11, 2019

When gazing at the sky, one turns to the billions of specks occupying the universe, an infinite space where visible and invisible galactic matter creates multidimensional shapes and figures. Throughout history, the cosmos has served as a site of epistemological enunciation. In connecting and linking disparate star systems, societies have advanced knowledge and created constellations. Constellations as metaphor moves one beyond discussions of the universe. In this regard, cinema, media, and visual culture have mediated our imagination on constellations. From planetariums and large screens projecting images of the enigmatic universe, to films imagining worlds outside of our own galaxy, to television and radio networks sending out sound and image via wavelengths, and to transmedia organizing, constellations are projections and imagined networks.

One can add that constellations have guided people to situate themselves within the universe; to shift their geographical and migratory positions; to measure and keep track of time; to sync to nature; and to preserve history and culture. Discrete points are the vital infrastructure supporting constellations; effacing points would compromise the integrity of the figure and radically transform its meaning and image.

Constellations are created when mapping and charting geographies, struggles, and movements. This allows one to rethink how their positionality and temporality link and relate disparate spaces, objects, and peoples. For example, sentient and non-sentient beings have formed their own social constellations, creating networks, circles, communities, and support systems. One can argue that media creates its own constellations, especially when mediums rely on other media systems: transmedia, intermedia, social media, and “cloud” sharing devices.

While constellations consist of connections that create imaginary shapes, objects, and figures, one must nuance the specificity of each point and raise questions that help one confront the precarity of constellations. Disruption enters the picture, threatening the integrity of the shape.

Imagining new constellations is hermeneutical. The act of imagining opens the possibility for third spaces, making room for new worlds, and forming connections that were otherwise impossible. When imagining constellations, one leaves open the possibility of adapting to new changes, allowing new points to enter and emerge, and respect the existence of other constellations in the vicinity. Cinema, media, and visual culture has been generative in this endeavor.

What happens when points are not granted their specificity? Can a point disengage from one constellation and align itself with others to create new constellations? What are the consequences when external forces seek to erase points in order to undo the power of unity in constellations? What is lost when constellations cease to exist? How is sound, moving images, and other media implicated in the creation and disruption of constellations?

The First Forum 2019 organizing committee welcomes papers, artwork, and creative projects that expand, complicate, and reconsider the metaphor of constellations in relation to sound and moving images. Papers outside the field of cinema and media are strongly encouraged.

Deadline & how to apply

Deadline: Wednesday, July 31, 2019 by 11:59 p.m.
Decision notification by Wednesday, August 14, 2019

Please e-mail an abstract of 250-300 words for a 15 to 18 minute presentation; a biography of 150 words; and institutional affiliation to firstforum2019@gmail.com

Samples of artwork and creative projects for exhibition accompanied by a 250-300 word abstract and a biography of 150 words can be e-mailed to firstforum2019@gmail.com

Other info, Links & conditions

Please direct queries to Michael Anthony Turcios at maturcio@usc.edu or to the conference organizing committee at firstforum2019@gmail.com


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Photo by Greg Rakozy on Unsplash

30/06/2019 – CFP: What do Pictures Do? (IN)VISIBILIZING THE SUBALTERN

International conference

June 11-12, 2020
Université Paul-Valéry Montpellier 3, France
Organized by EMMA and CLIMAS 

Keynote Speakers

Cheryl FINLEY (Cornell University), Art historian, Curator and Contemporary Art Critic
André GUNTHERT (EHESS, École des hautes études en sciences sociales), Historian of visual cultures
Mathilde ARRIVÉ (Université Paul-Valéry Montpellier 3, EMMA)
Nicolas LABARRE (Université Bordeaux Montaigne, CLIMAS)
Helena LAMOULIATTE-SCHMITT (Université de Bordeaux, CLIMAS)
Hervé MAYER (Université Paul-Valéry Montpellier 3, EMMA)
Monica MICHLIN (Université Paul-Valéry Montpellier 3, EMMA)
Call for Papers
The broadening scope of the socially visible world, along with the shift from voice to image, is seen by many (Benjamin, Crary) as a hallmark of modernity. In the wake of the pictorial turn, as individuation processes increasingly involve visual identifications, visibility has become a central paradigm of today’s social imagination. Whether desired, imposed, refused or denied, chosen or endured, visibility is now both an individual injunction and an institutional rationale (Zawadzki), regarded as the vehicle and guardian of social existence (Honneth).
Based on these premises, social invisibility characterizes individuals who are excluded from authorized visualities and majority visual discourses, and thus denied access to the social gaze. Invisible women and men are people “without”—without a face, without a voice. They include the youth, the poor, the disabled, ethnic and sexual minorities, outsiders, rebels, refugees and strangers, but also people living precarious lives or simply anonymous existences, whose images and words are relegated to the sidelines of public expression. As philosopher Axel Honneth argues, social invisibility has to be understood metaphorically, as “a denial of recognition” sealing “social non-existence” and causing feelings of disaffiliation. In fact, what is commonly called social invisibility (and its corollary, “inaudibility”) is an intersectional phenomenon that encompasses and intersects other forms of invisibility—historical, political, and legal (Purdie-Vaughns and Eibach).

Not only has “the gaze” long been an area of investigation among philosophers (Lévinas, Sartre), psychoanalysts (Freud, Lacan) and sociologists (Mauss, Elias), but the critique of visibility constitutes, in itself, a major theoretical tradition, initiated by the Frankfurt School, continued by Foucault, Debord and Barthes, but also Morin and Baudrillard, as well as Sontag, Mitchell and Mirzoeff in the US. Research on social invisibility, on the other hand, has mainly been the focus of sociology, political science, political philosophy, moral philosophy and history.

However rich and diverse the array of theoretical and critical thought on invisibility may be, invisibility has too rarely been approached from the perspective of invisible individuals and through the prism of visual mediations. The conference therefore proposes to fill these two gaps in order to expand and enrich the nascent field of invisibility studies, but also to shed light on the dual agency of images—as the vectors of both visibility and opacity, alienation and emancipation. 

Avenues of Inquiry

Social invisibility is a not an ontological condition, an essential attribute, characteristic or disposition, but a constructed social situation and process, underpinned by discourses and images. This symposium seeks to explore invisibility in three main areas: institutions, media and art.

1) Invisibilizing: Strategies, Apparatuses, Institutions

Invisibilization is frequently equated with an absence of image, a denial of representation; as a result, it is primarily approached through phenomena of censorship, relegation, erasure or oblivion, involving previously hidden, forgotten or invisible archival material.

Yet invisibilization is not necessarily the opposite of visibility. In fact, more often than not, invisibilization is visible and can be objectified. The goal will then be to analyze the various invisibilizing strategies at work in, around and via pictures—effacing, spectralizing, derealizing, obscuring agencies, naturalizing stereotypes, establishing scopic hierarches, abolishing the boundaries between public and private—as well as the different types of invisibilizing gazes—defamatory, criminalizing, miserabilist, voyeuristic, racializing or minorizing. Also deserving attention are the ways apparatuses like biopolitical discipline, ubiquitous surveillance, advertising, medical or police profiling may invisibilize subjects by way of exposure or overexposure. Papers may also focus on how “subalterns” tend to intenalize and perpetuate their own social invisibility through invisibilizing mechanisms such as social camouflage, racial passing, or masquerade. Ultimately, understanding the contexts in which images lose their function and value as mediations, which leads them to mask social relations as well as the invisible operations of the social gaze, is thus paramount.

There are many instances of hypervisible invisibilization. Perhaps one of the most paradigmatic examples in contemporary media culture is the photograph gone viral of a tortured Abu Ghraib inmate with his face covered by a bag—“the Hooded Man”, “the Bagman”, “the Invisible Man of Abu Ghraib” (Mitchell 2011, 140-141). Long before that, the myth of the Vanishing Race granted Native Americans abundant visibility at the turn of the 20th century, but along the spectralizing and thanatographic lines of an already dead people. Such examples show that, in the end, invisibility is not an absence of image, but rather an iconic pattern as much as a configuration of the gaze—a way of seeing, a visuality—socialized by images and the media, both old and new.
2) Counter-visuality, Visual Sovereignty and the “Right to Appear”

Why make oneself visible? And using what visual language, visual tools or media circuits? While the digital turn has made visibility more fluid, less centralized and more horizontal, “the right to appear” (Butler 2004) and to represent oneself is, first of all, a right to look back and (re)appropriate the dominant imagery critically, through parody, performance, plays on codes and identifications, in baroque or creolized aesthetics. Attention should thus be paid to what these critical (usually decolonial or feminist) pictures do—to the social gaze, to interpretive communities, to public opinion. But (re)appropriation is only one visibilizing tactic among many others, like automediation, the contemporary avatar of autoethnography in the 19th century (Pratt), which makes it possible to use agency both inside and in front of pictures, to determine the visual scenario according to one’s own singular representational desire or need, especially in the context of digital visibility and its increased democratization of self-images (Gunthert). Equally of interest is the way becoming visible often means becoming socially sighted, allowing invisible people not only to look and be looked at in their own terms, but also “to be seen seeing”, to see themselves as seers, and to see how they are seen. 

Besides, in today’s context of “image wars” (Latour), our attention will focus on the fights for visibility, which are also fights for and of representation(s), in the political and theatrical acceptations of the word. How can visual tactics derived from the world of the spectacle and entertainment be used for counter-hegemonic purposes? What can be said of the carnivalesque dimension that characterizes many interventions (gay pride, Guerrilla Girls, etc.)? Papers could explore the meaning and stakes of notions like “visual resistance” or “visual activism”, especially through forms of urban creativity (graffiti, murals, stickers, etc.). Worthy of attention are also the new, collective practices of visibility based on participation (marches, assemblies, occupations and other forms of appropriation of the public space) and the way they reorganize communal or political bodies, and reshuffle the distribution of visibility in the urban geography and the public sphere—and how they may turn visibility itself into a new agora (Gunthert).

Finally, an important issue will be to determine whether these visibilizing strategies reinforce “the tyranny of visibility” (Aubert et Haroche) and its normative practices, or if instead they use the social vocabulary of visibility to undermine, derail or reroute it (Boidy). Ultimately, the goal will be to know if these counter-images allow the emergence of counter-visualities, i.e., according to N. Mirzoeff, “dissensus with visuality, […] dispute[s] over what is visible’”, likely to delineate another visual order, another visual configuration of the social world, a new “distribution of the sensible” (Rancière):
a delimitation of spaces and times, of the visible and the invisible, of speech and noise, that simultaneously determines the place and the stakes of politics as a form of experience. Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak. [1]
3) Towards Post-visuality: Invisibility as Tactic?
While some individuals are over-exposed and others unseeable, visuality tends to oscillate between two scopic regimes, the spectacular and the spectral—resulting sometimes in their deadly association, as in acts of terror, which combine images of destruction and the destruction of images (Mitchell 2011, 64). This split signals a crisis of visibility (Boidy)—simultaneously regarded as value and anti-value (Heinich 2011), trap and privilege, source of emancipation and subjugation—which also indicates a crisis in institutions (Zawadzki 294) and a crisis of subjectivities. These observations, in turn, invite a radical critique of the primacy of visibility and make room for the premise that invisibility itself may, in fact, be a source of visual agency and a form of visual sovereignty. What kind of presence, action, expression and creativity, if any, does invisibility enable or foster?

Invisibility is commonly construed as transgressive because it has long been associated with crime, violence, but also with all things sacred (transcendence is invisible because it is incommensurable). Yet paradoxically, by designating what is outside the social world and by preventing mediations, invisibility excites the imagination and amplifies the production of images. Papers may therefore interrogate the social gaze on chosen invisibility (hoods, scarves). More broadly, we invite participants to analyze the way invisibility has gradually shifted from a transgressive to a protective strategy, as exemplified, for example, in the editorial blurring or masking of faces in the media and social networks, in the name of “image rights”, resulting in paradoxical forms of visibility combining ostentation and dissimulation (Gunthert “Destinataire inconnu”).

In the contemporary era of “post-visuality” (Mirzoeff 277), is chosen invisibility becoming a positive value? Invisibility seems to be less and less experienced as a form of loss, self-censorship, radical iconoclasm or giving up of representations, but rather as a way to revitalize mediations, which, once freed from identifications, may be able to activate the social gaze in other ways and by other means. Considered from the perspective of Agamben’s notion of “ordinary singularity”, could chosen invisibility manifest a form of “post-identity”—an identity without identification and without image, detached from communities that could recognize, represent, and apprehend it? 

In the art world, some artists refuse monumental, spectacular and theatrical self-dramatizations, developing instead “tactics based on subtraction, lack, uncertainty or invisibility”[2]. How and why do artists use pictures to claim discretion? How can pictures endorse and enact the choice of the minor, the infra-ordinary and the infra-political? Along these lines, participants are encouraged to delve into the various artistic strategies that run counter to the traditional visual codes of self-exposition: paradoxical portraits, back views, faces concealed or out of frame (Lorna Simpson, Francesca Woodman), deliberate opacity (Carrie Mae Weems, Nancy Spero) and silhouettes (Kara Walker), crossed-out or erased words and motifs (Basquiat), etc. All these creative endeavors foreground vulnerability and challenge viewers to see, but, more importantly, they critique images in, with and by way of images. In that sense, we would like to determine whether alternative representational paradigms are likely to induce new identity paradigms, but also new ways of relating to oneself, to others, and to images.
[1] Jacques Rancière, The Politics of Aesthetics, The Distribution of the Sensible (Transl. Gabriel Rockhill), London, New York: Continuum, (2004) 2011, p. 13.
[2] Description of the exhibition « L’art de la discrétion », curated by Quentin Jouret at Espace Écureuil in Toulouse (24 Nov. 2017- 24 Feb. 2018), Toulouse, France.
Papers may deal with any form of visual art and visual culture.

Papers should be 20 minutes in duration and can be in English or French. They may cover any area of the English-speaking world.

Proposals should include a 300-word abstract, together with a title, a bibliography and a short biography.

Please send your proposal by June 30, 2019 to the following addresses: invisibilization.conference@gmail.com and mathilde.arrive@univ-montp3.fr.

A publication of peer-reviewed texts will be proposed by the organizers. 

Registration fees are 40 euros for lecturers, professors or independent scholars, and 20 euros for doctoral students.
Scientific Committee
Lawrence AJE (Montpellier 3, EMMA)
Valérie ARRAULT (Montpellier 3, RIRRA 21)
Didier AUBERT (Paris 3, THALIM)
Zachary BAQUÉ (Toulouse Jean Jaurès, CAS)
Véronique BÉGHAIN (Bordeaux Montaigne, CLIMAS)
Mathilde BERTRAND (Bordeaux Montaigne, CLIMAS)
Claire CORNILLON (Nîmes, RIRRA 21)
Anne CRÉMIEUX (Paris Nanterre, CREA)
Simon DAWES (Versailles Saint-Quentin, CHCSC)
Véronique HA VAN (Le Havre, LARCA, GRIC)
Sarah HATCHUEL (Montpellier 3, RIRRA 21)
Jean KEMPF (Lyon 2, Triangle)
Guillaume MARCHE (Paris-Est Créteil, IMAGER)
Claire OMHOVÈRE (Montpellier 3, EMMA)
Richard PHELAN (Aix-Marseille, LERMA)
Claudine RAYNAUD (Montpellier 3, EMMA)
David ROCHE (Toulouse Jean Jaurès, CAS)
Mathilde ROGEZ (Toulouse Jean Jaurès, CAS)
Hélène TRESPEUCH (Montpellier 3, CRISES)
Éric VILLAGORDO (Montpellier 3, RIRRA)  
Selective Bibliography

AGAMBEN, Giorgio, La communauté qui vient. Théorie de la singularité quelconque, Paris : Seuil, 1990.

ALTHUSSER Louis, « Idéologie et Appareils Idéologiques d’État : notes pour une recherche » (1970), Sur la Reproduction, Paris : PUF, 2011, p. 263-306.

AUBERT, Nicole et Claudine HAROCHE, Les tyrannies de la visibilité, ERES « Sociologie clinique », 2011, htts://www.cairn.info/les-tyrannies-de-la-visibilite–9782749213507-page-7.htm.

BERGER, Martin A., Seeing through Race, a Reinterpretation of Civil Rights Photography, Berkeley and Los Angeles: California UP, 2011.

BERGER, Martin A., Sight Unseen. Whiteness and American Visual Culture, Berkeley, Los Angeles, London: California UP, 2005.

BOIDY, Maxime, « Luttes de représentation, luttes de visibilité », Hybrid, 04 | 2017, http://www.hybrid.univ-paris8.fr/lodel/index.php?id=842.

BRIGHENTI, Andrea Mubi, Visibility in Social Theory and Social Research, Basingstoke: Palgrave McMillan, 2010.

BRUNET, François, La photographie, histoire et contre-histoire, Paris : PUF, 2017.

BUTLER, Judith, Precarious Life, the Powers of Mourning and Violence, London, New York: Verso, 2004.

BUTLER, Judith, Rassemblement Pluralité, performativité et politique, Paris : Fayard, 2016 (Notes Toward a Performative Theory of Assembly,Harvard UP, 2015).

BUTLER, Judith, “Rethinking Vulnerability and Resistance”, in Judith Butler, Zeynep Gambetti, and Leticia Sabsay (eds.), Vulnerability in Resistance, Durham: Duke UP, 2016.

CRARY, Jonathan, Techniques of the Observer: on Vision and Modernity in the Nineteenth Century, Cambridge (Mass.), London: MIT Press, 1992 [trad. française : L’art de l’observateur. Vision et modernité au XIXème siècle, Nîmes : Jacqueline Chambon, 1990].

DAYAN, Daniel, “Conquering Visibility, Conferring Visibility: Visibility Seekers and Media Performance”, International Journal of Communication 7, 2013, p. 137-153. 

DE CERTEAU, Michel, L’invention du quotidien, Les Arts de faire (Vol. 1), Paris : Gallimard, 1990.

DEBORD, Guy, La Société du spectacle, Paris : Gallimard, (1967) 1992.

DIDI-HUBERMAN, Georges, Peuples exposés, peuples figurants. L’Œil de l’histoire 4, Paris : Minuit, 2012.

FAES, Hubert, L’invisibilité sociale. Approches critiques et anthropologiques, Paris : L’Harmattan, 2013.

GLISSANT, Edouard, Poétique de la relation, Paris : Gallimard, 1990.

GUNTHERT, André, « La visibilité des anonymes. L’accès des images amateur à l’espace public », L’image sociale, 9 novembre 2018, http://imagesociale.fr/6657.

GUNTHERT, André, « Le destinataire inconnu, ou la communication sociale », L’image sociale, 21 octobre 2018, https://imagesociale.fr/6605.

GUNTHERT, André, « À l’envers du selfie », L’image sociale, 25 septembre 2018, http://imagesociale.fr/6457.

GUNTHERT, André, « Printemps sans visage », L’image sociale, Le carnet de recherches d’André Gunthert, 12 mai 2018, http://imagesociale.fr/6155.

HEINICH, Nathalie, « Une valeur controversée : les critiques savantes de la visibilité », in Nicole Aubert et al., Les tyrannies de la visibilité, ERES « Sociologie clinique », 2011, p. 303-321.

HEINICH, Nathalie, De la visibilité : excellence et singularité en régime médiatique, Paris : Gallimard, 2012.

HONNETH, Axel, « Visibilité et invisibilité. Sur l’épistémologie de la « reconnaissance », Revue du MAUSS 2004/1, n°23, p. 137-151.

JOSCHKE, Christian, « À quoi sert l’iconographie politique ? », Perspective, n°1, 2012, p. 187-192, https://journals.openedition.org/perspective/646.

KRÁL, Françoise, Social Invisibility and Diasporas in Anglophone Literature and Culture: The Fractal Gaze, Basingstoke: Palgrave Macmillan, 2014.

LARCHER, Jonathan, avec Nicole Brenez, « Romani Cinema. Diffamations figuratives et rectifications documentées », séances à la Cinémathèque Française, 17 juin et 15 juillet 2016, http://debordements.fr/Romani-Cinema-4-516.

LATOUR, Bruno, « ‘Iconoclash’, Au-delà de la guerre des images », Traduit de l’anglais par Aude Tincelin. [« What is Iconoclasm? or Is There a World Beyond the Image Wars? » in Latour, Bruno and Peter Weibel, Iconoclash, Beyond the Image-Wars in Science, Religion and Art, Cambridge, Mass: MIT Press, 2002.

LE BLANC, Guillaume, L’invisibilité sociale, Paris : PUF, 2009.

MARCHE, Guillaume, “Why Infrapolitics Matters”, RFEA, n°131, 2012, p. 3-18.

MIRZOEFF, Nicholas, The Right to Look. A Counterhistory of Visuality, Durham: Duke UP, 2011.

MITCHELL, W.J.T., Cloning Terror: The War of Images, 9/11 to the Present, Chicago UP, 2011.

MITCHELL, W.J.T., Picture Theory. Essays on Verbal and Visual Representation, Chicago UP, 1994.

MORRISON, Toni, The Origin of Others, Cambridge, Massachusetts: Harvard UP, 2017.

MULVEY, Laura, “Visual Pleasure and Narrative Cinema”, Film Theory and Criticism: Introductory Readings, Leo Braudy and Marshall Cohen (eds.), New York: Oxford UP, 1999, p. 833-44.

PRATT, Mary Louise, Imperial Eyes, Travel Writing and Transculturation, London: Routledge, 1992.

PURDIE-VAUGHNS, Valerie and Richard P. EIBACH, “Intersectional Invisibility: The Distinctive Advantages and Disadvantages of Multiple Subordinate-Group Identities”, Springer Science + Business Media, LLC 2008. [n.p.],https://pdfs.semanticscholar.org/e961/3e98e20385f103ccc9a6fb02028446a01e31.pdf.

RANCIÈRE, Jacques, Le partage du sensible, esthétique et politique, Paris : La Fabrique, 2000.

RIVIERE, Joan, “Womanliness as a Masquerade”, The International Journal of Psychoanalysis, 10, 1929, p. 303-313.

SOUTIF, Daniel (dir.), The Color Line, Les artistes africains-américains et la ségrégation (1865-2016), Coédition Flammarion/Musée du quai Branly – Jacques Chirac, 2016.

SPIVAK, Gayatri Chakravorty, “Can the Subaltern Speak?”, in Colonial Discourse and Post-Colonial Theory: A Reader, eds. Patrick Williams and Laura Chrisman, London, 1993, p. 66-111.

SUN, Wei, Minority Invisibility, an Asian American Experience, Lanham: University Press of America, 2007.

TEHRANIAN, John, Whitewashed America’s Invisible Middle Eastern Minority, New York : NYU Press, 2010.

THOMPSON, John B., « La nouvelle visibilité », in Réseaux, 2005/1, n°129-130, p. 59-87.

ZAWADZKI, Paul, « Le regard vertical », in Nicole Aubert et al., Les tyrannies de la visibilité, ERES « Sociologie clinique », 2011, p. 293-302.

Mathilde ARRIVÉ
MCF – civilisation et culture visuelle américaines, EMMA (ea 741)
UFR 2, Département d’études anglophones, Bureau A120
Université Paul-Valéry Montpellier 3
Route de Mende, 34199 Montpellier Cedex 5, FRANCE


What, when & where

22nd October 2019, Palermo University (Italy)


The University of Palermo together with the joint Ph.D. program Studi Culturali Europei/ Europäische Kulturstudien organizes the interdisciplinary graduate conference “IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS” (University of Palermo, 22 October 2019). The international conference will focus on the different aspects of in/visibility from a cultural, philosophical, literary and artistic, historical and sociological perspective. The chosen working languages are Italian and English.

From their position at the crossroads among the humanities, cultural studies testify to the coexistence of heterogeneous objects, techniques, and forms of knowledge that are heterogeneous. From this perspective, in / visibility constitutes one of the aspects each discipline – from literary criticism to psychoanalysis, from history to gender studies- can somehow shed light on. The road that leads to the investigation of the representation of the in/visible is not univocal, but inherently plural and intrinsically interdisciplinary.

From this perspective, IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS” is designed as a moment of dialogue between different methodological perspectives that, looking at the in / visible from different points of view, also differ in the omissions and concealments that the choice of each point of view brings.

The international graduate conference also takes part in an academic tradition – that of Palermo and Düsseldorf, precisely – which commits to carry out research on in / visibility across disciplines.

How is the materiality of the visible world inscribed in its cultural representations? What are the more or less visible actors and mechanisms in the genesis of a cultural artifact? Should the visible/invisible binomial be considered as an anthropological constant or as the effect of a certain epistemological constellation? To what extent does visibility coincide with power and, therefore, how should one represent the in/visible? These are just some of the questions that cultural studies, in their innate interdisciplinarity and methodological heterogeneity can formulate with respect to the issue.

Deadline & how to apply

Graduate and postgraduate students are invited to submit a proposal. Abstracts written in Italian and English must not exceed 250 words. Please attach a short bio. Please send your abstract to: invisibile2019palermo@gmail.com. Please write “Proposal graduate conference in/visible 2019”

The deadline for submission of abstracts is set for July 7, 2019. Acceptance or rejection of the proposals will be notified per e-mail to the interested parties by July 20, 2019.

Other info, Links & conditions

Further information and the final programme will be published on the official webpage of the conference invisibile2019palermo.wordpress.com and on our Facebook page. For any enquire feel free to contact us: invisibile2019palermo@gmail.com.


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15/7/2019 – CFP: On the move

Eighth Biennial Graduate Student Conference @ University of British Columbia.

What, when & where

25-26 October 2019, Vancouver, Canada
On the move: narratives of displacement, travel and mobilities

Keynote Speaker: Simon Harel (University of Montreal)

As we observe phenomena of human flow and intensified technological communication permeating our daily life and imagination, this international graduate student conference invites young scholars to investigate contemporary Francophone and Hispanic literature and culture under the paradigm of mobilities.

In the emerging field of Mobilities Studies, research and theoretical works have stemmed from a wide range of both social science disciplines and humanities disciplines: mainly anthropology, urban studies, transportation studies, postcolonial studies and history. We aim to generate discussions on the new forms of mobilities, on the ways we give meanings to migration and displacement, and on how globalized and local network transforms our identity construction and cultural understandings. We welcome papers that explore the movement and mobilities across various media and art forms, including (but not limited) to literature, film, mass media, comics, theatre, dance, performance and art.

Deadline & how to apply

Submissions in English, French, and Spanish will be considered. Abstracts (250 words maximum), which include the paper title, your academic affiliation, and contact information, must be submitted to the FHIS GSC Organizing Committee by no later than July 15, 2019 to the following address: fhis.gsc@gmail.com. Individual presentations should be no longer than 20 minutes in duration. Please note that we also encourage the submission of abstracts for panels of presentations.

Other info, Links & conditions

For further information, feel free to go to the official GSC website (https://gsc2019onthemove.wordpress.com) or contact the Organizing Committee directly at fhis.gsc@gmail.com.


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15/9/2019 – CFP: Language and Violence: Literary Mediations in the Age of the Anthropocene

What, when & where

Language and Violence: Literary Mediations in the Age of the Anthropocene

Facultade de Filoloxía e Tradución – Universidade de Vigo in partnership with the Universidade de Santiago de Compostela

Vigo – 16th and 17th January 2020

The “Language and Violence: Literary Mediations in the Age of the Anthropocene” international conference seeks to explore the way in which violence appears to have impregnated contemporary literary discourse. The destruction of the environment, animal cruelty, social and gender brutality, amongst others, are some of the most obscene manifestations of human violence. This conference aims to identify the discursive codes that perpetuate violence through notions of subalternity, oppression, hegemonic power and class struggle.

The urge to analyse how language acts in worldmaking motivates this conference, which will consider how we think and feel about ourselves and about other beings, be they human and/or non-human. Dichotomies such as centre vs periphery, power vs resistance, global vs local, for instance, can be identified among the issues explored by contemporary authors in the cultural fictions of the Anthropocene – a term that marks a point of inflection due to the massive impact of humankind on the ecosystem. The various manifestations of violence in literary discourse expose the social changes of the last few decades and assist us in the reassessment of the ties between literature and public affairs.

Deadline & how to apply

We are interested in proposals that bear witness to how discourse on violence is experienced through the most diverse literary practices. With this idea in mind, we invite all those who wish to participate in the “Language and Violence: Literary Mediations in the Age of the Anthropocene” international conference to send their proposals for twenty-minute papers, exploring the questions presented here, with an abstract of no more than 250 words to malonsoalonso@uvigo.es before 15 September 2019.

Other info, Links & conditions

More information about the conference at: www.linguaeviolencia.wixsite.com/conference


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15/8/2019 – CFP: Reimagining Genre in Cinema

SFSU 21st Annual Graduate School Cinema Conference.

What, when & where

SFSU 21st Annual Graduate School Cinema Conference:
Reimagining Genre in Cinema

October 17-18, 2019
Keynote Speaker: Damon Young (UC Berkeley)

Whether because of digital technologies or other cultural shifts, many traditional cinematic forms, formulas, and categories seem increasingly to be in flux or mixed; this seems particularly true of notions of genre. Of course, genre has always been subject to mixture, to being contaminated by its others, but today, new genre-redefining forms and mixtures seem to be proliferating. At the same time, this very proliferation sometimes seems to demand increasingly specific generic categorizations and subdivisions.

The digital archive has given an unprecedented level of access to the cinema of the past and present and helps build the filmmakers of the future. New technologies make play and exploration more accessible than ever, and yet old ways of telling stories persist and evolve. This technological change is coupled with more globalized forms of communication, but also with an emphasis on representation, identity, and revising history. The result is a medium that is concerned not only with understanding its past, but also with actively constructing a new way forward.

Increasingly, traditional genres like the western and horror are turned on their head and complicated with new kinds of representations and mixture. Audiences themselves generate content and challenge generic forms–asking filmmakers to take new risks in mainstream formulas and celebrating independent and foreign cinematic forms. Indeed, following concepts of gender fluidity, genre is perhaps best understood as something that is inherently variable. This conference is concerned with both placing this generic reimagining in a historical context as well as exploring the changes occurring in our current moment, and seeks to explore these shifts through a more global lens.

Deadline & how to apply

Please send a 300 word abstract, a brief biographical statement (100-150 words), and CV to:CSGSA@mail.sfsu.edu by August 15, 2019.

Other info, Links & conditions

Submissions will be accepted from current graduate students, recently graduated students from MA or MFA programs (1-2 years after graduation), lecturers, post-doctoral scholars, and adjunct faculty.

While the School of Cinema hosts this conference, scholars of television, cultural studies, media studies, and other related fields are encouraged to submit proposals. We welcome presentations, video essays, and other forms of visual media as well as papers. Upon acceptance, your work will also be eligible for inclusion in our online journal, Cinemedia: Journal of the SFSU School of Cinema.


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Photo by Jeremy Yap on Unsplash