Women's and Gender Studies Caucus at NeMLA
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nemlawgsc.bsky.social
Women's and Gender Studies Caucus at NeMLA
@nemlawgsc.bsky.social
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We are the Women's & Gender Studies Caucus, part of the Northeast Modern Language Association. Learn more about us here: https://www.nemla.org/areas/caucuses/wgs.html#title_0
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nemlawgsc.bsky.social
Submit an abstract for our caucus-sponsored panel 'Queer Drag and Imperial Shadows: Performance Cultures of South Asia' (NeMLA 2026) here: cfplist.com/nemla/Home/S...
This panel is an exploration of the historical and colonial entanglements of drag culture and queer performativity in South Asia, which seeks to understand how cultural memory, capitalism, and colonialism shape drag’s aesthetics and politics and its commodification. It welcomes interdisciplinary work on marginalized queer voices and performance which challenge Western perceptions and understanding of drag as a social phenomenon.
September 24, 2025 at 7:07 PM
nemlawgsc.bsky.social
Submit an abstract for our caucus-sponsored panel 'New Voices in the Tortured Poets Department: Women, Literature, and Music' (NeMLA 2026) here: cfplist.com/nemla/Home/S...
Tortured Poets Department (2024) uses the relationship between Taylor Swift and poet Emily Dickinson, the singer’s sixth cousin, to suggest shared aesthetics and aims. Our NeMLA 2025 double session featured scholars’ fruitful parallels between Swift’s and Dickinson’s treatment of memory, desire, and form. Our NeMLA 2026 session asks what more we can learn by examining the intersection of gender, literature, and popular music. To what extent are women writers and recording artists “tortured poets,” and what does it mean to envision the trope of the tortured poet as a woman? This panel explores further connections between women writers and popular recording artists, trans or cis. We invite proposals that analyze relationships between a female recording artist and any woman writer since the nineteenth century. How do their personas, art, mythology, image, and/or reception relate to one another? How do the artists’ works connect thematically, lyrically, and musically? What potential does the pairing–or the concept of the woman as tortured poet–hold for “regenerating” canon, scholarship, and/or pedagogy? We welcome papers that address these questions.
September 24, 2025 at 7:03 PM