Tuesday, August 16, 2016

Job: Director, Indiana University Summer Language Workshop

Deadline: September 30, 2016

The School of Global and International Studies at Indiana University, Bloomington, seeks a new leader for its renowned Summer Language Workshop. The opening is for a full-time non-tenure track faculty position, beginning in 2017. The candidate will be responsible for setting the strategic direction of the Workshop and will have full administrative responsibility for its operations.

Responsibilities include oversight of curriculum and pedagogy, recruitment of instructors and students, grant writing, fundraising and alumni development, and management of logistical aspects of the annual language workshop. The candidate will be expected to provide strategic direction to the Summer Language Workshop as it grows, reaches new and diverse student and alumni groups, adapts to trends in language learning, and seeks new funding opportunities.


CFP: Slavic Review Special Fall 2017 Issue: The 100 year anniversary of the Russian revolutions

Deadline: September 10, 2016

Social protest movements across the political spectrum and the globe indicate the continuing importance of the 1917 Russian revolutions. For a special Fall 2017 issue of Slavic Review we seek short essays not previously published that draw on original scholarly research. The essays should provide a significant new interpretative and analytic framework for the concept of revolution generally and particularly on the global impact of the 1917 events in the short and long term, in Russia and Eastern Europe and beyond, and their extended repercussions and legacy to the present day across national boundaries and realms of human endeavor.  All disciplines are welcome. Manuscripts (in English) should highlight the conceptual impact and analytic and interpretative themes of the work.

Papers will be 3000 words maximum, not including notes. Abstracts of a few sentences must be submitted by September 10, 2016 to the editor at slavrev@illinois.edu; those given the green light must be developed into papers by November 10, 2016. (This leaves time for review and rewriting for a final deadline of early February 2017).

Harriet L. Murav
Professor, Department of Slavic Languages and Literatures
Professor, Comparative and World Literature

Editor, Slavic Review
Managing Editor: Dmitry Tartakovsky, PhD
University of Illinois
1207 W. Oregon St.
Urbana, IL  61801-3716
Phone: 217 333-3621
URL: http://www.slavicreview.illinois.edu/

Funding: Frederick Burkhardt Residential Fellowships for Recently Tenured Scholars

 Deadline: September 28, 2016

ACLS invites applications for Frederick Burkhardt Residential Fellowships for Recently Tenured Scholars, made possible by the generous assistance of The Andrew W. Mellon Foundation. The fellowships are named for the late Frederick Burkhardt, president emeritus of ACLS, whose decades of work on The Correspondence of Charles Darwin constitute a signal example of dedication to a demanding and ambitious scholarly enterprise. These fellowships support long-term, unusually ambitious projects in the humanities and related social sciences. The ultimate goal of the project should be a major piece of scholarly work by the applicant. ACLS does not fund creative work (e.g., novels or films), textbooks, straightforward translation, or pedagogical projects.

The Burkhardt program offers two sets of opportunities for recently tenured humanists. The first set of Burkhardt Fellowships support an academic year (nine months) of residence at any one of the 13 participating residential research centers, and are open to faculty at any degree-granting academic institution in the United States. An additional set of Burkhardt Fellowships are designated specifically for liberal arts college faculty, and support an academic year of residence at a wider range of locations including campus humanities centers and university academic departments to be proposed by the applicant. (Liberal arts college faculty may apply for either of the Burkhardt awards and should select the fellowship opportunity that will best serve their project.)

Fellowship Details

  • Amount: $95,000, plus funds for research costs and related scholarly activities of up to $7,500 and for relocation up to $3,000
  • Tenure: One academic year
  • Completed applications must be submitted through the ACLS Online Fellowship and Grant Application system (ofa.acls.org) no later than 9 pm Eastern Daylight Time, September 28, 2016.

Notifications will be sent by late February 2017.

CFP: Central European Cinema and the Turbulent Twentieth Century

Deadline: September 23, 2016

This seminar, hosted by the American Comparative Literature Association at Universiteit Utrecht, the Netherlands from July 6-9, 2017 invites proposals which focus on the cinematic representations of the historical events and ideological and political changes in twentieth-century Central Europe, the latter understood in the broadest sense as a region comprising not only countries belonging formerly to the Habsburg Monarchy, including Austria, but also countries south and east of the Habsburg-Ottoman divide, i.e. the region known as the Balkans or Southeast Europe.

In the “short” twentieth century of two world wars, ideologies, and all too frequent change of rules and state borders, film, as the century’s most successful art form, has demonstrated a unique capacity for a condensed presentation of history in a very specific cultural and political context. Through its interplay between denotative and connotative meaning of film images, it can embed the historical narrative in an alternative context and challenge the spectator’s knowledge of history.

The peoples of Central Europe have been affected by the history of the twentieth-century in an especially precarious way. The borders created after the First World War were changed less than thirty years later, and the latter were changed yet again in the Balkans in the last decade of the century. Each war and change of borders was accompanied by a change of the political system, or indeed regime. It is then understandable why the Hungarian director István Szabó said that Central Europeans are overpowered by the past they carry on their backs: each generation has lived through the fall of a regime driven by some kind of ideology and has learned how politics and ideology could interfere with private life. While this is the common experience, the differences lie in the imaginative methods of survival employed in the respective national cinemas of Central Europe.

Possible general topics include but are not limited to:

  • Alternative representations of war and post-war experiences in the region defying the ideologically driven mainstream film productions, e.g., films from the “Black Wave,” “New Wave,” etc.
  • Cinematic parodies, dystopias, and dark comedies as instruments of artistic rebellion
  • Interference of regime and ideology with private lives
  • Construction of the public sphere in the post-war periods, e.g. symbols of cultural and/or national identity and statehood politics
  • Conflicts between local and global politics
  • Repression of traumas and denial of responsibility
  • Spectator/reception oriented analysis
  • Censorship and boycott

Please submit abstracts (max 350 words) through the ACLA website: http://www.acla.org/annual-meeting

For questions or comments, contact Dr. Ana Foteva: anafot@yahoo.com

CFP: Workshop “Private Narratives: Privacy in Literature, Visual and Performing Arts”

Deadline: October 9, 2016

This workshop aims to bring together PhD students, who are interested in the representation of privacy and the study of topics and structures of privacy discourse in different art forms. The focus lies on the reconstruction of the narrative forms dealing with the private and the representations and constructions of privacy in literature, film, theatre, music and art. The multiplicity of privacy semantics will be studied and debated using concrete examples, which will help to determine the connection of the former to the extra-medial reality. This debate will provide insight on the reciprocal relation between the medial presentation of privacy and the cultural and historical privacy practices and discourses.

For example, privacy can become a significant topos in literary works, where specific characteristics and limitations of private spaces are discussed. Privacy can also refer to the information that one character possesses about another and which he or she uses to empower oneself. In addition, characters’ decisions may be described as private, and it can be studied whether these decisions are represented as autonomous or heteronomous.

Of great relevance is also the question of the privacy of the author, which is dependent on the historical and political context. One could address here problems of censorship and political restrictions, which influence artistic works. The general connection of privacy to autonomy, freedom, and other fundamental principles of democratic societies serves here as an impulse to discuss the restrictions on artistic production as stimuli for the artists to imagine and thereby “create” their own private sphere, which is otherwise non-existent under current societal conditions.

Finally, when artistic works reach the audience, the recipients themselves can ‘experience’ and ‘create’ their own privacy, which in turn triggers transformation of one’s perception of reality. This performative effect of privacy can also be extended to the whole society, raising further questions for privacy research.

Topics of interest include (but are not limited to):

Concepts of privacy: What are the differences between privacy discourse in arts and privacy discourses in other fields?
Evolution of privacy narratives throughout history: What drew attention to privacy in different historic epochs? How did various artistic movements deal with representations and constructions of privacy? And how did these representations and constructions transform throughout time?
Terminology: What are similarities and differences between subjectivity, inner world, and privacy?
Mediatization of privacy: What is the difference between different arts in a sense of technical possibilities, conditions of production, and the ways of reception by the public? How do they differ in their functions of privacy presentation?
Narrativity of privacy: Is there any specific way to “tell privacy” that can arise from the analysis of artistic works?
Cultural relativity of privacy: What are cultural specificities of privacy representations that one can observe in art?

Organizational information:

The workshop will take place on January 20-21, 2017, at the University of Passau. We welcome abstract submissions of individual papers (no more than 300 words) until October 9, 2016. Please, include the title of your presentation, as well as a short academic CV (max. 150 words), and send us a PDF document at all the three following E-mail addresses, indicating “Workshop Private Narratives” as the E-mail subject:

steffen-burk@uni-passau.de AND tatiana-klepikova@uni-passau.de AND miriam-piegsa@uni-passau.de.

Selected speakers will be notified by the end of October, 2016. The presentation should last no more than 30 Minutes, followed by a 30-minute discussion. For any further questions, please, contact Steffen Burk (steffen-burk@uni-passau.de).

Job: Assistant Professor for The Department of Slavic Languages and Literatures at UC Berkeley

Deadline: October 3, 2016

The Department of Slavic Languages and Literatures at the University of California, Berkeley seeks applications for a full- time faculty position at the Assistant Professor level (tenure track) in modern Russian literature with an expected starting date of July 1, 2017. The Department seeks candidates whose primary specialization is in twentieth-century Russian literature and culture (the long twentieth-century: 1890s to the present). Interest in late-Soviet and post-Soviet literature and culture is welcomed. Interdisciplinary interests and the ability to teach courses in other historical periods are preferred.

Minimum basic qualification:

• Completion of all Ph.D. (or equivalent degree) requirements except the dissertation by the time of application.

Preferred qualifications:

• Completion of the Ph.D. (or equivalent degree) by the starting date of the position.
• Demonstrated research, teaching, and administrative ability.
• Near native competence in Russian and English.

Duties include teaching, research, and service.

The Ph.D. (or equivalent degree) must be completed within 6 months after the start date of the position.

To apply, please visit the following link: https://aprecruit.berkeley.edu/apply/JPF01095

Required application materials:

• cover letter, including research statement and summary of teaching experience
• curriculum vitae
• a brief sample of research (article-size; published or unpublished). Additional written materials may be requested.
• three letters of recommendation. (Applicants must solicit letters using the application web site at the time of application.) All letters will be treated as confidential per University of California policy and California state law. Please refer potential referees, including when letters are provided via a third party (i.e., dossier service or career center), to the UC Berkeley statement of confidentiality (http://apo.berkeley.edu/evalltr.html) prior to submitting their letters.

Applications must be received by October 3, 2016.

Please direct questions to issahr@berkeley.edu.

The University of California is interested in candidates who will contribute to diversity and equal opportunity in higher education through their teaching, research, and service. The University of California is committed to addressing the family needs of faculty.

The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy see: http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct.

Apply Here: https://aprecruit.berkeley.edu/apply/1071/account_and_contact?

CFP: Film History - Special Issue: “Amateur Film and the Institution”

Deadline: October 15th, 2016

In recent years, Film Studies scholarship began to pay more attention to the effects that various non-theatrical film initiatives – such as educational, industrial, and other institutional productions - have had on the way modern life is ordered, experienced and imagined. Although amateur film initiatives have sometimes been included in such debates, their relationship to professional film expressions and institutions has not yet been explored in depth. Usually deemed a mere hobby devoted to recording family gatherings and trips, amateur cinema’s rich history as a vernacular media form, with its own journals, circulation circuits, and particular relationship to actuality is yet to be fully explored.

Likewise, the current amateur digital media explosion has gathered scholarly attention, but it remains to be articulated in relation to a more comprehensive history of vernacular media. Such histories can potentially allow for a new map and timeline of moving image production to emerge: countries or regions previously deemed peripheral for film history due to their lack of a strong film industry may become relevant to rethink the space that film occupies in cultural history globally.

With these ideas in mind, the Amateur Film and the Institution special issue looks to discuss the different implications of amateur cinema around the world in relation to the technological, social, cultural, and economic developments that marked its emergence in different contexts. The changing discourses on the status of amateurism vs. professional aesthetics have also shaped much of film criticism and theory, emerging with particular force at certain moments in history. A central task of the special issue will be to interrogate the relationship between amateur practices and broader film institutional developments and open a conversation by addressing a range of questions, such as: What role did amateur production play in the institutionalization of film? What kind of alternative institutions did amateurs create? How does the development of these practices and discourses impact our understanding of the history and geography of moving images?

We invite contributions from scholars and practitioners to submit paper proposal on the history of film amateur practices around the world. Topics may include, but are not limited to:

-Archival institutions and non-professional film
-Non-professional film movements, journals, and festivals
-Amateur pornography
-Political potential of amateur cinema
-Amateur filmmaking and experimental/avant-garde cinema
-Self-made productions and the contemporary digital culture
-DIY technologies and aesthetics
-Amateur film in relation to industrial and educational films
-Histories of critical debates about the status of “the amateur” in film and media
-New geographies of moving image history beyond commercial film
-The impact of the study of amateur cinema on film historiography

Send a 500-600 word abstract and a brief biographical note to enrique.fibla@concordia.ca and salazkina.masha@gmail.com by October 15th 2016. The editorial team will notify selected proposals by November 1st 2016. Completed manuscripts (up to 9,000 words) will be due February 1st 2017, and will be accepted for publication pending editorial and external readers evaluation. All submissions will be subjected to double blind peer review.

For further information on Film History journal submission guidelines see: http://www.iupress.indiana.edu/pages.php?pID=78&CDpath=4

In addition to scholarly articles, we invite submissions of relevant previously unpublished original documents on this topic, in English or in translation, to be included in the special issue.

Guest Editors: Enrique Fibla, Masha Salazkina (Concordia University)