[Njcea] CFPs for NEMLA 2011 in NJ

[bastet801 at att.net]

Please pass on (and respond to, perhaps? ) the enclosed CFPs! Both sessions will take place at the 2011 NorthEastern Modern Language Association, which will be help Apr. 7 - 10, 2011, in New Brunswick, NJ.

Here's one:

While many influences, from the international to the interdisciplinary, have shaped detective fiction over the years, arguably, it is most complicated and challenged by the influence of other genres, such as sci-fi , adventure, and Gothic.  Whether the centrality of scientific theory and practice in forensic investigation or the wrong that will not go away and must be discovered and avenged (reminiscent of the Gothic), other genres, both marginal and established, continue to color this one.  How do these influences force a redrawing of generic boundaries? How to they intersect with the above-mentioned international and interdisciplinary influences to force this redefinition? 
Case studies focusing on single works/ authors or broader generic overviews will be considered for this panel; please submit proposals (250 – 500 words as an MS Word attachment) to Maria Plochocki at bastet801 at att.net by Sept. 30.
And the second:
In recent years, composition instructors have been tasked with introducing or inoculating student writers to the discursive community, as well as promoting a sense of community in the composition classroom. But what defines such “communities”: academic discourse? Professional norms (that is, various genres of professional and technical writing)? Creative-writing pedagogy and interest? Something transcending these boundaries? 
Are these notions, further, reinforced or challenged by more informal, nebulous communities like social-networking sites? How does the composition classroom, or composition instruction more broadly, serve to draw and redefine the boundaries of these communities? How can they learn and benefit from one another’s codes and wisdom?  How does a “community” in a composition classroom mirror or promote one of the other above-mentioned ones? How do these “communities” shape the purposes and charges governing the teaching of composition in our times? How has this changed to reflect broader curricular mandates, student preparation and academic/ life goals, and other realities?
Proposals outlining successful practices and new initiatives may be submitted as MS Word attachments to Maria Plochocki at bastet801 at att.net by Sept. 30.

Please excuse any cross-posting!

--
M. L. Plochocki 
(plo-hots-kee) 
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