A Room of One's Own

A place to talk about all things literary

Images from FAAPI 2011

Posted by Mariel Amez on October 30, 2011

See some pics taken at the 2011 FAAPI Conference.

On Friday it was the papers….

On Saturday we had the panel

This Conference was also the celebration of FAAPI‘s 40th anniversary. This is the video prepared by the Executive Committee.

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2011 FAAPI Conference

Posted by Mariel Amez on October 30, 2011

This post is long overdue, but we needed to share the activities of  “A Room of One’s Own” at the Tucumán FAAPI Conference.

The Conference itself was memorable, with top-notch speakers, an impressive venue and first-class hospitality.

On Friday September 23rd two papers were presented:   The prologues to Shakespeare’s plays. Do they “make all well”? by Prof. Raquel Lothringer

and Literature in Teacher Education: modelling e-competencies by Prof. Mariel Amez

 Saturday was time for the panel “Literature and Identity: diasporic literatures, exile, third cultures, border narratives”
Claudia Ferradas, Ph.D. lectured on The construction of self and other in Anglo-Argentine literature.  Details of her research can be found at her own website, The Anglo-Argentine Web.
Lic. María Cristina Llorente presented The Mad Woman Comes Out Of The Attic: A Tale Of Two Adaptations.

All these activities had a good turnout, and the enthusiastic participants shared in the ensuing discussions.

We are all very pleased that this fourth issue of  “A Room of One’s Own” has been so successful, which is ample encouragement for  Literature Studies to continue to feature in future FAAPI Conferences.

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Proceedings from the XXXV FAAPI Conference

Posted by Mariel Amez on October 1, 2010

We have already commented on the high academic quality and excellent organisation of the XXXV FAAPI Conference held in Cordoba, but the state-of the art e-book publication of the Proceedings deserves a separate post.

Some may have been disappointed to find that no hard copy of the Conference Proceedings was given to participants, but a “mere” CD instead. However, such disappointment must have been short-lived: only the time it took to insert the CD in a computer and witness the wealth of the e-book unfold before their eyes. Intuitive to use, yet vividly reproducing  the experience of page-turning, it brings together some of the Plenary and Semiplenary presentations as well as a selection of papers submitted for publication. But if you find the prospect of handling the e-book a little daunting, you shouldn’t worry, since a pdf version has also been included in the CD.

A Room of One’s Own is particularly grateful to Editor Mario López Barrios and the Editorial Committee (Deborah Krainin, Elba Villanueva de Debat and Daniel Fernández) for devoting an entire section of the Proceedings to the papers belonging to our group. It is a source of pride to us to find ourselves in the company of all the talented professionals whose work is gathered in the book.

FAAPI President Dr Daniel Fernandez expresses in his Introduction that their guiding principle has been to make the Proceedings

a contribution to teacher education and professional development from two different angles: (a) content specificity, and (b) the adequate grammaticalisation of knowledge and experience

It is our conviction that this aim has been met to a fault. So if you were lucky to be a participant at the Conference and are in possesion of the e-book, don’t delay! Start browsing straight away!

If that is not the case, you can read some of the AROOO papers below.

Florencia Perduca:

Mariel Amez:

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Photos from FAAPI 2010

Posted by Mariel Amez on September 26, 2010

The XXXV FAAPI Conference organised by ACPI was a major academic event. We were proud to be there presenting both a panel and two papers, as detailed in previous posts.

If you couldn’t join us, take a look at some pictures and make sure you don’t miss the Conference next year.

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Panel at FAAPI 2010

Posted by Mariel Amez on September 19, 2010

The panel PERSPECTIVES ON POSTCOLONIAL LITERATURE will be presented at 2.00 pm on Thursday 23rd at Room 5 Facultad de Lenguas. (See full Conference schedule and this other post for other AROOO presentations)

This panel brings together the following papers:

Bernardine Evaristo’s The Emperor’s Babe: a postmodern novel in verse (Cecilia R. ACQUARONE)

The purpose of this paper is to present a critical view of Bernardine Evaristo’s novel the Emperor’s Babe as a rare example of the writing of a novel in verse that displays all the issues of postmodernism in a highly aesthetic mode. The novel is original, not only in the choice of verse as a form but also in the skilful juxtaposition of multicultural, post-imperial 21st century Britain and third century Londinium. The novelist is successful in making verse an appropriate medium to deal with issues of current validity while simultaneously making the ancient past vividly and pleasantly alive to contemporary eyes.

Unaccustomed Earth: striking roots in new lands (María José BUTELER) 

Jhumpa Lahiri writes about the Indian immigrants in America and about the lives of first generation Bengalis and their alienated children. The purpose of this paper is to explore how Lahiri in Unaccustomed Earth (2008) celebrates the interculturality which results from the immigrant experience and how she sees it as leading to cultural enrichment. This first generation of Indian-Americans produces novel cultural forms and practices through the merging of two separate cultures.

Anita Desai’s The Village By The Sea: Trapped between Two Discourses or Inhabiting a Third Place? (Florencia V. PERDUCA)

Postcolonial theory seems to explore the condition of formerly colonised subjects as inhabiting a crystallised space in which beings are trapped between two contending discourses (their culture’s and the other culture’s) and whose own voice is therefore silenced. Postcolonial literature, however, appears to deconstruct this inescapable condition by means of conjuring up scenarios which locate subjects in the in-betwenness of a “third place” which allows for self and cultural identity to be voiced out. This is particularly seen in the novel The Village by the Sea by Indian writer Anita Desai.

We are all extremely proud to have these talented colleagues share their expertise in the Conference.

Cecilia Acquarone: Profesora en Inglés. Licenciada en Lengua y Literatura Inglesas. Professor of Literature in English at IES Olga Cossettini. Professor of Contemporary Literature in English and Introduction to Literary Analysis at UCEL. Head of English Department  at Colegio Español de Rosario.

María José Buteler: Licenciada, Translator and Teacher of English, Facultad de Lenguas (UNC). Prof. Adjunta DSE in “Introduction to Literary Studies”, “Theory and Analysis of Literary Discourse” and “American Literature” at Facultad de Lenguas, National University of Cordoba.

Florencia Perduca: Literary Translator and English Teacher from IES en Lenguas Vivas “Juan Ramón Fernandez” (Buenos Aires), she holds an MA in Literary Linguistics from the University of Nottingham (UK). She teaches Introduction to Literary Studies, Literature in Englishes and Contemporary Literature at Lenguas Vivas (Buenos Aires) and Postcolonial Studies at Licenciatura en Lengua Inglesa (Universidad Nacional del Litoral). She is the director of the IES en Lenguas Vivas Research Group on “Intercultural Awareness through Literatures in Englishes” and is  the author and materials designer of magazines and resource packs on literatures in Englishes.

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Papers to be presented at FAAPI 2010

Posted by Mariel Amez on September 19, 2010

A Room of One’s Own will offer two papers at 7 pm, Thursday 23rd, Room 4, Facultad de Lenguas:

Evaluating and E-valuating in the College Literature Class: A many-sided task (María Susana Ibáñez and Raquel Lothringer)

That teaching involves evaluating is undeniable, and that this task is often confined to final exams to decide if students can complete a course is common practice. In this light, evaluation is deprived of crucial functions and carried out exclusively by teachers. In this presentation we explore the issue in a wider perspective, focus on evaluation in the college Literature class and propose instruments to be used in face-to-face interaction and in online learning environments.  

María Susana Ibáñez received a degree in English from Universidad Nacional del Litoral, and an M. A. degree from Universidad de Córdoba, where she is a doctoral candidate.  She teaches Literature at I.S.P. “Alte. Brown” (Teacher training and Translation Programmes) and Literary Theory at UNL (Licenciatura en Inglés).

Raquel Lothringer, teacher of English and of Literature from Instituto del Profesorado (Paraná) where she taught English Literature and former Head of the Modern Languages Department (Facultad de Ciencias de la Educación-UNER), is currently an on-line tutor at Licenciatura en Inglés (UNL) and at Área de Educación a Distancia (UNER).

From learner to prosumer: interactions between art and literature from a connectivist perspective (Mariel Amez)

Nowadays, there is widespread agreement in our country that ICTs need to play a key role in education, but it remains to be seen whether they will be effective in improving the quality of learning. This presentation reviews recommendations for teacher education in this field, and examines the potential of SNSs (social network sites) to meet such requirements. It draws on the implementation of a SNS in Literature classes to illustrate how this environment can contribute to the creation of content which moves beyond the purely textual, to the construction of collective knowledge, and to student empowerment in general.

Mariel Amez is a Teacher of English (INSP Rosario and UNR). She is currently a lecturer in English Literature at IES “O. Cossettini” and ISPI “San Bartolomé” (Rosario), a Cambridge ESOL Oral Examiner and a member of the APrIR Committee. She has published articles and given presentations on literature, language teaching and teacher education.

See details of the panel to be offered in this other post, and check out the complete schedule at the Conference site.

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“A Room” at FAAPI 2010

Posted by Mariel Amez on July 10, 2010

Next September,  “A Room of One’s Own” will present a number of options at the FAAPI Conference in Cordoba.

As we had announced, the central event will be the Panel Perspectives on Postcolonial Literature. The Academic Committee has already accepted the three proposals  submitted: Cecilia Acquarone ( “Bernardine Evaristo’s The Emperor Babe: a postmodern novel in verse.”), Maria Jose Buteler: “Unaccustomed Earth: striking roots in new lands” and Florencia Perduca (“Anita Desai’s The Village by the Sea: Trapped between Two discourses or Inhabiting a Third Place?”)

 In addition, there will be two papers, which have also been accepted by the Academic Committee: “Evaluating and E-valuating in the College Literature Class: a many sided task” (Ibáñez-Lothringer) and  “From learner to prosumer: interactions between art and literature from a connectivist perspective” (Amez).

 If you haven’t yet made up your mind about attending, remember there is a special offer for parties of five teachers enrolling together, which expires on July 20th.

 

Visit the ACPI site for more details.

 See Panel at FAAPI 2010 and Papers to be presented at FAAPI 2010 for abstracts and biodata of the presenters.

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Planning FAAPI 2010

Posted by Mariel Amez on April 13, 2010

A Room of One’s Own will be present at the 2010 FAAPI Conference to be held in Córdoba on September 23rd, 24th and 25th.

Our central space will be the Panel: Perspectives on Postcolonial Literature. Renowned experts have been contacted and they will be submitting their proposals to the Academic Committee. Once they are accepted, we will be providing further details on the specific topics to be addressed.

In addition, we would like to invite all teachers who intend to present a proposal for the Conference on a topic related to literature to add to it the subtitle “A Room of One’s Own Presentation”. The general theme chosen for this year, EFL and Art: learning English with all our senses clearly allows for the inclusion of papers and workshops that integrate literature.

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McEwan’s latest

Posted by Mariel Amez on April 4, 2010

Academic prestige, pride, adultery and death (murder?)  set in the midst of worries and possible solutions for global warming seem to be the main ingredients of Ian Mc Ewan’s latest novel, Solar.

Worried you cannot attend the author’s readings? New media offer you a chance:

Some reviews you may want to try out are those from The New York Times, The Guardian and National Public Radio (NPR) - including an excerpt from the novel.

You can also visit the author’s own website for a collection of links to reviews, book tour dates in the USA and Canada and other interesting info.

I know I want to read it soon. What about you?

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My contribution

Posted by rlothringer on February 10, 2010

To pay homage to J. D Salinger I want to share with you the lines published by David Lodge in the NYTimes.

The Pre-Postmodernist

By DAVID LODGE

Published: January 29, 2010

Birmingham, England

THE life of J. D. Salinger, which has just ended, is one of the strangest and saddest stories in recent literary history. Nevertheless, it would be a mistake to let the disappointment of the second half of Mr. Salinger’s career — consisting of a long short story called “Hapworth 16, 1924” that reads as though he allowed the pain of hostile criticism to blunt the edge of self-criticism that every good writer must possess, followed by 45 years of living like a hermit in the New Hampshire woods — to overshadow the achievements of the first half.

The corpus of his good work is very small, but it is classic. His was arguably the first truly original voice in American prose fiction after the generation of Hemingway, Fitzgerald and Faulkner. Of course nothing is absolutely original in literature, and Mr. Salinger had his precursors, of whom Hemingway was one, and Mark Twain — from whose Huck Finn Hemingway said that all modern American literature came — another. From them he learned what you could do with simple, colloquial language and a naïve youthful narrator. But in “The Catcher in the Rye” Mr. Salinger applied their lessons in a new way to create a new kind of hero, Holden Caulfield, whose narrative voice struck a chord with millions of readers.

The narrative is in a style the Russians call skaz, a nice word with echoes of jazz and scat in it, which uses the repetitions and redundancies of ordinary speech to produce an effect of sincerity and authenticity — and humor: “The thing is, most of the time when you’re coming pretty close to doing it with a girl … she keeps telling you to stop. The trouble with me is, I stop. Most guys don’t. I can’t help it. You never know whether they really want you to stop, or whether they’re just scared as hell, or whether they’re just telling you to stop so that if you do go through with it, the blame’ll be on you, not them. Anyway, I keep stopping. The trouble is, I get to feeling sorry for them. I mean most girls are so dumb and all. After you neck them for a while you can really watch them losing their brains. You take a girl when she really gets passionate, she just hasn’t any brains. I don’t know. They tell me to stop, so I stop.”

It looks easy, but it isn’t.

Nearly everybody loves “The Catcher in the Rye,” and most readers enjoy Mr. Salinger’s first collection of short stories, “Nine Stories.” But the work that followed, the four long short stories paired together in two successive books as “Franny and Zooey” and “Raise High the Roof Beam, Carpenters and Seymour: An Introduction,” were less reader-friendly and provoked more critical comment, leading eventually to the retreat of the wounded author into solitude.

This was as much the consequence of critical failure as of authorial arrogance. These books challenged conventional notions of fiction and conventional ways of reading as radically as the kind of novels that would later be called post-modernist, and a lot of critics didn’t “get it.” The saga of the Glass family is stylistically the antithesis of “Catcher” — highly literary, full of rhetorical tropes, narrative devices and asides to the reader — but there is also continuity between them. The literariness of the Glass stories is always domesticated by a colloquial informality. Most are narrated by Buddy, the writer in the family, who says at the outset of “Zooey” that “what I’m about to offer isn’t really a short story at all but a sort of prose home movie.”

The nearest equivalent to this saga in earlier literature is perhaps the 18th-century antinovel “The Life and Opinions of Tristram Shandy, Gentleman,” by Laurence Sterne. There is the same minutely close observation of the social dynamics of family life, the same apparent disregard for conventional narrative structure, the same teasing hints that the fictional narrator is a persona for the real author, the same delicate balance of sentiment and irony, and the same humorous running commentary on the activities of writing and reading.

How Shandean, for instance, is Buddy’s presentation to the reader in “Seymour” of “this unpretentious bouquet of very early-blooming parentheses: (((( )))). I suppose, most unflorally, I truly mean them to be taken, first off, as bow-legged — buckle-legged — omens of my state of mind and body at this writing.”

Seymour Glass first appeared in one of the “Nine Stories,” “A Perfect Day for Bananafish,” as a disturbed veteran of World War II (as Mr. Salinger himself was), who on vacation with his rather shallow wife, after a charmingly droll conversation with a little girl on the beach, shockingly shoots himself in the last paragraph. The late stories are all in some way about the attempts of Seymour’s surviving siblings to come to terms with this action. This often takes a religious direction, and presents the Glass family as a kind of spiritual elite, struggling against a tide of materialism and philistinism with the aid of Christian existentialism, Eastern mysticism and a select pantheon of great writers.

This cultural and spiritual elitism got up the noses of many critics, but I think they overlooked the fact that Mr. Salinger was playing a kind of Shandean game with his readers. The more truth-telling and pseudo-historical the stories became in form (tending toward an apparently random, anecdotal structure, making elaborate play with letters and other documents as “evidence”), the less credible became the content (miraculous feats of learning, stigmata, prophetic glimpses, memories of previous incarnations, and so forth). But what were we asked to believe in: the reality of these things, or the possibility of them? Since it is fiction, surely the latter; to suppose it is the former is to lose half the pleasure of reading the books.

David Lodge is the author, most recently, of the novel “Deaf Sentence.”

A version of this article appeared in print on January 30, 2010, on page A23 of the New York edition.

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