UPDATE: The first week of official blog posts will now be the week of August 1st, and will feature posts from both the War and Transnational panels. But again, please feel free to chime in with starting points, either in comments or by sending things to my email, before then!
Seeing as the info about this blog has already gone out across the intertubes, and seeing as one central goal for this fall's conference is to get as many people as possible involved, an offer: if you have thoughts about the conference's theme ("American Mythologies: Creating, Re-creating, or Resisting National Narratives"), whether overall or in relation to particular texts, figures, issues, ideas, or etc, and would like to include them in these conversations, please feel free to email them to me (email@example.com) and I'll post them here. (Or, if that feels too formal, feel free to share them as Comments on this post.) Help us get started on a great note!
Monday, July 18, 2011
See the Schedule below, which will stay in that location throughout the blogging, for the full week by week plan. Talk to you soon!
Sunday, July 17, 2011
Welcome to the NEASA conference blog. We're doing a little experiment here to see if we can begin conversations that will culminate at our conference in November. Each week a different panel will present on their subject (or anything American Studies related).
I'm going to be the host of sorts with participation with others from the NEASA council, a group with wide subject and disciplinary interests, also helping me. In the spirit of collaboration and "you first," I'll begin with a little post that models what we hope to be
In graduate school, we used to play a game: song or paper topic. Someone would name a subject--"Captain Crunch" comes to mind--and we would figure out whether it would better be explored as a song or paper topic. Almost everything ended up as a paper topic, because in our department at least, and I think, American Studies scholars generally and graduate students in particular often have an openness to exploration, a curiosity about the how and why of everyday culture matters.
It’s with this spirit that I’m approaching my current project on class and architecture at racetracks. As a reporter that covered horse racing from both a social and sports perspective, I saw that racetracks both small and large, prominent and obscure, included class divisions in their architecture, and that they included a type of class play. My paper here focuses on one part of racetrack culture, the type of influence that British traditions have on American ones, and how racetrack goers in the United States, and track owners, use these traditions as a vehicle for their own class performances.
I focus here on the fancy hats women sometimes wear—and tracks often sell. These fancy hats are a type of fashion architecture that exists idiosyncratically almost exclusively at racetracks. What do they mean? How do we contextualize them? Those are the types of questions I’m asking in this paper and in a longer work as well.