NeoAmericanist CFP - Sex and Sexual Identity in Contemporary America: "This call for proposals seeks to interrogate the issues of sex and sexual identity in the contemporary United States. We are interested in hearing from scholars, public intellectuals, journalists, community activists, health-care workers and independent researchers with subject matter expertise or knowledge about human sexuality, sexual acts and especially LGBTQ sexual identities. We are interested in receiving proposals or complete works in a variety of mediums including (but not limited to) essays, photography, film documentaries, music, theoretical discussions, empirical research papers, academic publications etc. All works should address and explore the complex socio-cultural issue of human sexuality within contemporary America. Submissions should in some way interrogate sexuality, desire, and physical bodies within the context of American cultural frameworks, while also being sensitive to the ways in which constructions of sexuality are linked to the movement of ideas, capital, local, regional, and national systems of inclusion and exclusion. We especially encourage work that critically engage articulations of race, class, sexuality, gender, religion, and particularly - citizenship. Lastly, we strongly urge those working on original, intellectually rigorous and thought-provoking material on or done within historically marginalized or underrepresented constituencies (e.g. ethnic minorities, economically disadvantaged, PWA, etc.) to contact us at the email below.
Submissions can be made as traditional papers or alternatively, in either .mp3 or video format (prefaced by a proposal or outline of the work). Methods might utilize 'new' ethnographies, oral history interviews, personal essays, etc. Written documents must be limited to 5,000 words and multimedia formats must be limited to 20 minutes in length and conform in all other respects to scholarly, academic publishing standards while also utilizing correct discipline-specific citation methods.
All submissions accepted under this heading will be included in a forthcoming edition of NeoAmericanist, within a section under this title. Please send your materials, by April 5th, 2009 as email attachments to: mjohnso9@wsu.edu. While email is always preferred, interested submitters may mail materials to: Michael Johnson Jr., Washington State University, Department of American Studies, PO Box 644010, Pullman WA 99164-4010.
Michael Johnson Jr.
2008-2009 Ronald E. McNair Fellow
Department of American Studies
Washington State University
Michael Johnson Jr.
Washington State University
Department of American Studies
PO Box 644010
Pullman WA 99164-4010
Email: mjohnso9@wsu.edu"
Welcome
I think Sociology is a lot like how the writer and director of The Incredibles describes cartoons:
In sociology, we often call this the "definition of the situation". It could be extended perhaps to also capture the spirit of what Mills called the "Sociological Imagination". No matter what moniker we give it, it is with this "essence" that I believe sociologists must concern themselves, not as rigid actuaries or impartial "scientists", but rather to approach their task much like the artist--with expression, grace, humility, as well as a good dose of criticism.
When an artist visualizes a painting they are working on, they have in their minds-eye an image of how it will look. Even when the "reality" of what they are actually looking at may simply be a block of stone or a blank canvas and table full of paints to mix. They can shape the creative process, but they do not control it completely. What shape their work will finally achieve is largely due to how they urge their clay, stone, paint or musical notation to find its expression in the face of significant constraints, i.e., time, temperature, temper and even a little bit of luck. Their final product may not look "identical" to what they had in mind, but their ability to "bump it up" can have breathtaking results. Take Michelangelo's masterpiece "Il Davido". Considered virtually perfect by many in the art world, the marble from which this sublime form was born was was rejected as flawed by others:
The gallery that houses this masterpiece is entered through a good sized hallway lined on both sides with the guardians of David--a group of unfinished works called "The Captives", aptly named because they look like bodies frozen in the cold hard marble yearning to break out. Michelangelo abandoned them because they were too far from his vision. However, when I visited the museum, I was really taken by these figures--I could see on the one hand how they were not "perfect", but there was something quite spectacular in their imperfection. It all boiled down to a matter of interpretation and vision.
Sociologists face the same dilemma. I think we have a great chance to work with diverse communities to address important social problems. We must remain aware, however, that our goal is not to "reproduce reality" or impose solutions on communities that are external and coercive of their needs. Our job is to use all of the tools in our kit to "bump it up" and encourage individuals to appreciate the beauty of community involvement and the satisfaction of (cultural) self-determination.
The reason to do animation is caricature. Good caricature picks out the essense of the statement and removes everything else. It's not simply about reproducing reality; It's about bumping it up.Good research and teaching by sociologists should likewise attempt to find the essence of a statement and remove everything else. Of course I am not naive enough to think that "essence"="TRUTH", or that all of the external forces and pressures individuals confront, especially in marginalized communities, can somehow be magically removed or held constant. I consider what Bird calls essence more a reflection of the process of sense making in which people engage everyday in order to bring some modicum of rationality to a seemingly hyper-irrational set of social contexts and interactions.
In sociology, we often call this the "definition of the situation". It could be extended perhaps to also capture the spirit of what Mills called the "Sociological Imagination". No matter what moniker we give it, it is with this "essence" that I believe sociologists must concern themselves, not as rigid actuaries or impartial "scientists", but rather to approach their task much like the artist--with expression, grace, humility, as well as a good dose of criticism.
When an artist visualizes a painting they are working on, they have in their minds-eye an image of how it will look. Even when the "reality" of what they are actually looking at may simply be a block of stone or a blank canvas and table full of paints to mix. They can shape the creative process, but they do not control it completely. What shape their work will finally achieve is largely due to how they urge their clay, stone, paint or musical notation to find its expression in the face of significant constraints, i.e., time, temperature, temper and even a little bit of luck. Their final product may not look "identical" to what they had in mind, but their ability to "bump it up" can have breathtaking results. Take Michelangelo's masterpiece "Il Davido". Considered virtually perfect by many in the art world, the marble from which this sublime form was born was was rejected as flawed by others:
Michelangelo took a rejected piece of marble that had numerous veins running through it and carved it into this Goliath-sized sculpture that was originally commissioned by Opera del Duomo
Michelangelo was young when he completed The David, yet you can see his talent and genius in this sculpture. He was 25 years old when he began the statue in 1501. No other sculptor wanted this piece of marble because it could be prone to shatter, but Michelangelo created a masterpiece with it...
The gallery that houses this masterpiece is entered through a good sized hallway lined on both sides with the guardians of David--a group of unfinished works called "The Captives", aptly named because they look like bodies frozen in the cold hard marble yearning to break out. Michelangelo abandoned them because they were too far from his vision. However, when I visited the museum, I was really taken by these figures--I could see on the one hand how they were not "perfect", but there was something quite spectacular in their imperfection. It all boiled down to a matter of interpretation and vision.
Sociologists face the same dilemma. I think we have a great chance to work with diverse communities to address important social problems. We must remain aware, however, that our goal is not to "reproduce reality" or impose solutions on communities that are external and coercive of their needs. Our job is to use all of the tools in our kit to "bump it up" and encourage individuals to appreciate the beauty of community involvement and the satisfaction of (cultural) self-determination.
Tuesday, March 17, 2009
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