Queen Mary Literary Essay Conference

Queen Mary Literary Essay Conference-66
And to the extent that history today seems to be repeating (again) as farce, I'll suggest that we are living through a moment of rupture and crisis that can be viewed as a crisis of faith in words - and a crisis of faith in jokes.But to keep things cheerful, my talk will still feature a lot of jokes - mostly funny ones.Film studies have a longer tradition of doubting the neat division of fiction/nonfiction when it comes to documentary.

And to the extent that history today seems to be repeating (again) as farce, I'll suggest that we are living through a moment of rupture and crisis that can be viewed as a crisis of faith in words - and a crisis of faith in jokes.But to keep things cheerful, my talk will still feature a lot of jokes - mostly funny ones.

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The abstracts should be prepared for blind review (with name, institutional affiliation, contact details, and the title of the proposal in a separate file).

In the case of pre-constituted panels, the conveners are asked to submit a panel proposal including the title, a 300- to 500-word justification for the panel and 300- to 500-word abstracts (references included) for each of the three presentations making up the panel accompanied by a title and 5 keywords.

CURRENT WORK 2016-2019 Queens’ College, University of Cambridge, Junior Research Fellow (post-doc) EDUCATION 2016 Queen Mary University of London, Ph D in English, passed without corrections 2012 University of Cambridge, Queens’ College, M. (Distinction) 2007–2011 University of Cambridge, Magdalene College, and Johannes Gutenberg-Universität, Mainz, Germany, BA equiv.

ACADEMIC VISITING POSITIONS 2014-2016 New York University, Visiting Scholar 2014-2015 Princeton University, Digital Archivist, Blue Mountain Project 2013-2014 Columbia University, Visiting Scholar PUBLICATIONS book MEDIA I have been interviewed about my scholarship and research-led creative practice for: (1) the Cambridge Festival of Ideas (2017); (2) for the Cambridge Public Engagement Office as an Engaged Researcher (2019); and (3) for Queer(y)ing the Curriculum at LGBTQ @Cam (2019).

Dr Stacie Friend, Senior Lecturer in Philosophy, Birkbeck, University of London.

The fiction/nonfiction divide is a much discussed topic in contemporary analytic aesthetics.But they were far more willing to concede that documentary oftentimes slips into fiction than their philosopher peers.That being the case, the conference “Documentaries and the Fiction/Nonfiction Divide” aims to revive the philosophical research on documentaries by encouraging a dialogue on this issue with film critics and theorists, as well as with historians and practitioners.Yet, documentaries are paradigmatic cases of nonfiction and arguably an investigation of them might shed some light on the fiction/nonfiction divide, which in turn might improve our understanding of the documentary film.In fact, the main philosophical conceptions of the documentary remain those developed some twenty years ago by Currie (1999), Carroll (1997), Ponech (1997), and Plantinga (2005).Daniel Trilling Daniel Trilling is editor of New Humanist magazine and a freelance journalist who writes about migration, borders and nationalism for the London Review of Books, Guardian, New York Times and others.His book Lights in the Distance, based on five years of reporting on refugees in Europe, is recently published by Picador.We hope for an edited volume to result from the conference.In case of publication the organizers as editors will also ensure that women are well represented.Despite their differences, all these accounts rely on the standard conception of the fiction/nonfiction divide in terms of an imagination/belief distinction.Yet, if Friend and Matravers are right in questioning this standard conception, then the philosophy of documentary is to be reconsidered as well.

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