CFP: Decolonizing Yoga? & Unsettling “Social Justice” (Race and Yoga 3.1 2018)

Call for Papers: Race and Yoga Journal 3.1 (2018)

Special Cluster Theme: Decolonizing Yoga? & Unsettling “Social Justice”


Race and Yoga editorial board is currently seeking articles, personal narratives, and creative works for the third issue of the journal. The issue will have a special cluster section that addresses “Decolonizing Yoga? & Unsettling ‘Social Justice.’”


CfP: The 6th Euroacademia Forum of Critical Studies: Asking Big Questions Again, 23 – 25 November 2017, Lucca, Italy


The 6th Global Forum of Critical Studies
Asking Big Questions Again


23 - 25 November 2017, Lucca, Italy

Agora Cultural Centre


Deadline for Paper Proposals: 15th of September 2017

Early Bird Deadline: 15th of August 2017


CfP: Alterity and the Research Imagination Conference ( Lisbon, 25-26 January 2018)

Preoccupation with theories and practices of representation and othering, across the breadth of various genres and disciplines, has moved forward debates about positioning in research and modes of constructing and producing knowledge. In Meatless Days (1989), a vivid memoir of her girlhood in postcolonial Pakistan, Sara Suleri Goodyear deplores being regarded as an “otherness machine”—a concern Kwame Anthony Appiah (1991) shares in his famous critique of postcolonial literature, culture and critical studies.

New Open Access Book: Britain, France and the Decolonization of Africa: Future Imperfect?

******We apologise for any cross-posting******

UCL Press is delighted to announce the publication of a new open access book that may be of interest to readers of this list: Britain, France and the Decolonization of Africa. Download free from: https://goo.gl/96i6mz  


Britain, France and the Decolonization of Africa: Future Imperfect?

Edited by Andrew W.M. Smith and Chris Jeppesen

CFP CAA 2018 Session: Agnotology of Contemporary Middle Eastern Art

When the first exhibitions of contemporaneous art from the Middle East were presented to North American and European audiences in the last decades of the twentieth century, the absence of knowledge about Middle Eastern art on the part of those educated in North American and European schools became obvious. This panel is an attempt to systematize the gaps in our knowledge.


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