The program for Mythcon 45 at Wheaton College is now available online. Details at http://www.mythsoc.org/news/mythcon-45-program-schedule-available/.
Tuesday, July 29, 2014
CFP StoryTelling Journal (Open-Topic) (No Deadline)
Popular Narratives
full name / name of organization:
StoryTelling Journal
contact email:
barbara.szubinska@eku.edu
Source: http://call-for-papers.sas.upenn.edu/node/57740
StoryTelling is dedicated to analyses of popular narrative in the widest sense of the phrase and as evidenced in the media and all aspects of culture. Manuscripts should: see the narrative as a reflection of culture; use theory to analyze the work, not work to illustrate theory; employ scholarship; and be written for the general audience. No limits on period or country covered. No creative writing. All articles are peer-reviewed. StoryTelling is indexed in the MLA database.
For more information, please visit: http://english.eku.edu/storytelling-critical-journal-popular-narrative or Facebook: https://www.facebook.com/storytellingjournal
By web submission at 07/25/2014 - 10:03
full name / name of organization:
StoryTelling Journal
contact email:
barbara.szubinska@eku.edu
Source: http://call-for-papers.sas.upenn.edu/node/57740
StoryTelling is dedicated to analyses of popular narrative in the widest sense of the phrase and as evidenced in the media and all aspects of culture. Manuscripts should: see the narrative as a reflection of culture; use theory to analyze the work, not work to illustrate theory; employ scholarship; and be written for the general audience. No limits on period or country covered. No creative writing. All articles are peer-reviewed. StoryTelling is indexed in the MLA database.
For more information, please visit: http://english.eku.edu/storytelling-critical-journal-popular-narrative or Facebook: https://www.facebook.com/storytellingjournal
By web submission at 07/25/2014 - 10:03
CFP Small-Screen Souths: Interrogating the Televisual Archive (9/1/14)
CFP: Small-Screen Souths: Interrogating the Televisual Archive [Edited Collection]
Stephanie Rountree
Friday, July 25, 2014
H-PCAACA
Source:
https://networks.h-net.org/node/13784/discussions/35912/cfp-small-screen-souths-interrogating-televisual-archive-edited
CFP: Small-Screen Souths: Interrogating the Televisual Archive [Edited Collection]
Proposals due September 1, 2014
In recent years, the advent of reality television’s “hicksploitation” alongside the rise of scripted dramatic series such as True Blood and The Walking Dead has seemingly kept the U.S. South as a small-screen spectacle of wonder and exceptionalism. Yet the broader historical archive of televisual representation of the region reveals a more complicated picture of how television generates, enables, contaminates and disrupts discourses about the U.S. South, forming a medium for the reproduction of dominant ideologies about life in the region while also simultaneously broadcasting oppositional, subordinated, and alternative ways of thinking about space and place.
Capitalizing on recent innovations in southern studies, cultural studies, media studies, and American studies, this proposed collection will take on the large stakes of the small screen to examine how, from The Beverly Hillbillies to Love & Hip Hop: Atlanta, much of the nation has long viewed the U.S. South through their televisions. In seeking to question and complicate the way that, as Katherine Henninger has aptly noted, “dominant narratives of southernness, black and white, privilege oral over visual expression, word over picture,” Small-Screen Souths: Interrogating the Televisual Archive will contribute to a body of emerging work that seeks to reveal the South as an intensely visual space while also demonstrating how television studies can participate in and even suggest new avenues for ongoing transformations in southern studies.
Small-Screen Souths: Interrogating the Televisual Archive, which has attracted the initial interest of a major university press, thus aims to bring together essays that critically interrogate televisual representations of the region and fill a significant gap in the existing scholarship on the U.S. South by considering the “South” and the televisual archive broadly, from sites of reception to archival presences in unexpected places. In examining the relationship between the U.S. South and television, this collection will examine how the televisual South speaks to national and transnational transformations, including changing modes of conceptualizing race, class, gender, and regional identity itself. We seek analyses of representations of the South from both the classical network era, and our contemporary “post-broadcast” era, where traditional definitions of imagined communities—signified by national audiences, national networks, and national programming—are no longer adequate for understanding current configurations of community and identity.
In so doing, we aim to engage with a wide variety of questions regarding the relationship between the U.S. South and television. How does television work to complicate or reaffirm the traditional iconic elements of “the South”? What does this material tell us about the continued (mis)conception of the region as a site of national exception? How does televisual representation help us interrogate the performative nature of regional studies? How does television entrench or complicate certain ways of seeing the South in relationship to the nation at large? Does television provide the space for a performance of place that can illuminate the transnational or hemispheric affiliations between the U.S. South and the Global South, or otherwise reveal aspects of the region’s complicated cultural hybridity and multiplicity?
Individual essays may of course be more focused and might consider the following topics:
Stephanie Rountree
Friday, July 25, 2014
H-PCAACA
Source:
https://networks.h-net.org/node/13784/discussions/35912/cfp-small-screen-souths-interrogating-televisual-archive-edited
CFP: Small-Screen Souths: Interrogating the Televisual Archive [Edited Collection]
Proposals due September 1, 2014
In recent years, the advent of reality television’s “hicksploitation” alongside the rise of scripted dramatic series such as True Blood and The Walking Dead has seemingly kept the U.S. South as a small-screen spectacle of wonder and exceptionalism. Yet the broader historical archive of televisual representation of the region reveals a more complicated picture of how television generates, enables, contaminates and disrupts discourses about the U.S. South, forming a medium for the reproduction of dominant ideologies about life in the region while also simultaneously broadcasting oppositional, subordinated, and alternative ways of thinking about space and place.
Capitalizing on recent innovations in southern studies, cultural studies, media studies, and American studies, this proposed collection will take on the large stakes of the small screen to examine how, from The Beverly Hillbillies to Love & Hip Hop: Atlanta, much of the nation has long viewed the U.S. South through their televisions. In seeking to question and complicate the way that, as Katherine Henninger has aptly noted, “dominant narratives of southernness, black and white, privilege oral over visual expression, word over picture,” Small-Screen Souths: Interrogating the Televisual Archive will contribute to a body of emerging work that seeks to reveal the South as an intensely visual space while also demonstrating how television studies can participate in and even suggest new avenues for ongoing transformations in southern studies.
Small-Screen Souths: Interrogating the Televisual Archive, which has attracted the initial interest of a major university press, thus aims to bring together essays that critically interrogate televisual representations of the region and fill a significant gap in the existing scholarship on the U.S. South by considering the “South” and the televisual archive broadly, from sites of reception to archival presences in unexpected places. In examining the relationship between the U.S. South and television, this collection will examine how the televisual South speaks to national and transnational transformations, including changing modes of conceptualizing race, class, gender, and regional identity itself. We seek analyses of representations of the South from both the classical network era, and our contemporary “post-broadcast” era, where traditional definitions of imagined communities—signified by national audiences, national networks, and national programming—are no longer adequate for understanding current configurations of community and identity.
In so doing, we aim to engage with a wide variety of questions regarding the relationship between the U.S. South and television. How does television work to complicate or reaffirm the traditional iconic elements of “the South”? What does this material tell us about the continued (mis)conception of the region as a site of national exception? How does televisual representation help us interrogate the performative nature of regional studies? How does television entrench or complicate certain ways of seeing the South in relationship to the nation at large? Does television provide the space for a performance of place that can illuminate the transnational or hemispheric affiliations between the U.S. South and the Global South, or otherwise reveal aspects of the region’s complicated cultural hybridity and multiplicity?
Individual essays may of course be more focused and might consider the following topics:
- Television’s cultural influence on popular conceptions of the South
- Television and the commodification of the region
- Television’s relationship to lived social environments and material conditions in the South
- Televisual representations of racial constructions in the region
- Television, memorialization and memory
- The South and the politics of televisual pleasure
- Issues of genre: television and the southern gothic, the grotesque, etc.
- The role television plays in generating, mediating or resisting social change in the region
- Television’s role in globalizing the South and/or exporting “the South” to a global market
- Television’s relationship to the cultural logic of late capitalism
- The South and comedy /the sitcom South
- Television and the temporality of the South
- Broadcasting the sexual politics of the South
- Televisual representation of nation, class, sexuality, gender, youth and race
- Television and the nation-state / televisual nationhood
- Television and the representation of the urban and/or rural South
- Issues of authenticity and exploitation
- Television’s relationship to convergent media, including advertising and intermedia
CFP PCA/ACA 2014 (11/1/14; New Orleans 4/1-4/14)
Calls for papers for next year's meeting of the Popular Culture Association/American Culture Association are beginning to appear online. The conference meets in New Orleans from 1-4 April 2015. Proposals may be submitted online at http://ncp.pcaaca.org/.
Here's what I've seen so far this summer:
CFP: World's Fairs and Expositions Area, Popular Culture Association/1-4 April 2015
https://networks.h-net.org/node/13784/discussions/35792/cfp-worlds-fairs-and-expositions-area-popular-culture-association1
CFP: Film @ History at PCA/ACA (11/1/14; 4/1-4/15)
https://networks.h-net.org/node/13784/discussions/36077/cfp-film-history-pcaaca-11114-41-415
Includes the following:
Additionally, papers exploring our current focus: Golden Ages: Styles and Personalities; Genres and Histories are especially welcome. These might include, but are not limited to:
- The Golden Age of Science Fiction Film and Television
Saturday, July 26, 2014
CFP Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation (8/15/14)
One more for the week:
CFP: Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation
Source: http://fanstudies.wordpress.com/2014/07/13/cfp-harry-potter-on-the-page-and-on-the-screen-adaptationreceptiontransformation/
Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation
The eight film versions of the seven Harry Potter novels represent an unprecedented cultural event in the history of cinematic adaptation. The movie version of the first Harry Potter book, Harry Potter and the Philosopher’s/Sorcerer’s Stone, premiered in 2001, in between publication of the fourth and fifth books of this global literary phenomenon. As a result, the production and reception of both novel and movie series became intertwined with one another, creating multiple combination of fans who accessed the series first through the books, first through the movies, and in various other combinations. The decision to cast three young age appropriate actors who would mature along with their fictional counterparts further represents a cross-pollination of the interpretive process, as readers began experiencing the newly emerging novels in terms of the visual imagination of their screen experiences.
Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation is an essay collection that proposes to explore the cultural, political, aesthetic, and pedagogical implications of the adaptation of this generation-defining young adult narrative in order to expand our scholarly understanding of this far-reaching international literary and cinematic event, consider what we can learn about the process of cinematic adaptation of literary sources, and facilitate the classroom exploration of the Harry Potter series.
Some questions that might be considered:
Interested contributors may email inquiries or one page abstracts by 15 August 2014 to:
John Alberti
Department of English
Northern Kentucky University
Highland Heights KY 41099
alberti@nku.edu
Andy Miller
Department of English
Northern Kentucky University
Highland Heights KY 41099
millera@nku.edu
CFP: Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation
Source: http://fanstudies.wordpress.com/2014/07/13/cfp-harry-potter-on-the-page-and-on-the-screen-adaptationreceptiontransformation/
Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation
The eight film versions of the seven Harry Potter novels represent an unprecedented cultural event in the history of cinematic adaptation. The movie version of the first Harry Potter book, Harry Potter and the Philosopher’s/Sorcerer’s Stone, premiered in 2001, in between publication of the fourth and fifth books of this global literary phenomenon. As a result, the production and reception of both novel and movie series became intertwined with one another, creating multiple combination of fans who accessed the series first through the books, first through the movies, and in various other combinations. The decision to cast three young age appropriate actors who would mature along with their fictional counterparts further represents a cross-pollination of the interpretive process, as readers began experiencing the newly emerging novels in terms of the visual imagination of their screen experiences.
Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation is an essay collection that proposes to explore the cultural, political, aesthetic, and pedagogical implications of the adaptation of this generation-defining young adult narrative in order to expand our scholarly understanding of this far-reaching international literary and cinematic event, consider what we can learn about the process of cinematic adaptation of literary sources, and facilitate the classroom exploration of the Harry Potter series.
Some questions that might be considered:
- How does the overlapping adaptation history of the Harry Potter series affect theoretical questions of fidelity, interpretation, and transformation in film adaptation studies?
- In what ways do the novel and movie series represent the same or different narrative universes?
- How does the dual experience of the novel and movies affect the reception process of Harry Potter fans?
- How do the different media versions of the Harry Potter series impact representations of gender, race, ethnicity, and sexuality?
- How was the dual development of the novel and film series affected by the concurrent development of Web 2.0 and interactive fan culture?
- How has the larger political and social context, particularly 9/11 and the wars of the 21st century, shaped the adaption and reception experience of Harry Potter?
- How have fan communities responded to issues of fidelity and interpretation within the film series? How have fan communities influenced the production process of the movie adaptations?
- How do specific examples of individual novel/movie adaptations represent different issues and developments related to the development of the dual media Harry Potter series?
Interested contributors may email inquiries or one page abstracts by 15 August 2014 to:
John Alberti
Department of English
Northern Kentucky University
Highland Heights KY 41099
alberti@nku.edu
Andy Miller
Department of English
Northern Kentucky University
Highland Heights KY 41099
millera@nku.edu
CFP Seeing is Believing: Antiquity and Beyond (9/40/14; NeMLA Toronto)
NeMLA 2015 Panel Seeing is Believing: Antiquity and Beyond Abstract due Sept. 30th
full name / name of organization:
Claire Sommers/The Graduate Center, CUNY
contact email:
csommers@gc.cuny.edu
Source: http://call-for-papers.sas.upenn.edu/node/57676
The relationship between the visual and the literary traces its origins to antiquity. In Rhetoric, Aristotle famously defines rhetoric as ‘the ability to see the available means of persuasion’ (I.2.1). Sight is a vital component of the human cognitive experience; neither education nor persuasion can take place without visualization. Throughout antiquity, philosophical concepts were often conveyed by artistic terminology and visual language and all genres of Classical literature contain lengthy ekphrases.
This panel will examine the relationship between the Classical emphasis on sight and more modern approaches to the visual imagination in literature, philosophy, and theory. The goal of this session will be to understand the modern integration of the literary, philosophical, and the artistic in light of its Classical antecedents, tracing the evolution of the visual imagination from its ancient origins to the present day. Submissions may deal with any genre and possible approaches include (but are not limited to):
* using ancient theories of ekphrasis to interpret pictorial descriptions in more modern literatures and media
* using modern Critical Theory to understand the Classical examples of ekphrasis and the visual evocations of the language used in ancient texts
* analyzing post-Classical allusions to the ancient visual imagination and ekphrases of ancient subject matter
* using modern cognitive approaches to explore the significance of the ancient emphasis on sight and visualization.
Please submit an abstract of 300-500 words to the panel "Seeing is Believing: Antiquity and Beyond" at https://nemla.org/convention/2015/cfp.html#cfp15214 by September 30, 2014. You will need to create a user account through the NeMLA website in order to submit an abstract. Please contact Claire Sommers (csommers@gc.cuny.edu) with any questions.
By web submission at 07/21/2014 - 01:41
full name / name of organization:
Claire Sommers/The Graduate Center, CUNY
contact email:
csommers@gc.cuny.edu
Source: http://call-for-papers.sas.upenn.edu/node/57676
The relationship between the visual and the literary traces its origins to antiquity. In Rhetoric, Aristotle famously defines rhetoric as ‘the ability to see the available means of persuasion’ (I.2.1). Sight is a vital component of the human cognitive experience; neither education nor persuasion can take place without visualization. Throughout antiquity, philosophical concepts were often conveyed by artistic terminology and visual language and all genres of Classical literature contain lengthy ekphrases.
This panel will examine the relationship between the Classical emphasis on sight and more modern approaches to the visual imagination in literature, philosophy, and theory. The goal of this session will be to understand the modern integration of the literary, philosophical, and the artistic in light of its Classical antecedents, tracing the evolution of the visual imagination from its ancient origins to the present day. Submissions may deal with any genre and possible approaches include (but are not limited to):
* using ancient theories of ekphrasis to interpret pictorial descriptions in more modern literatures and media
* using modern Critical Theory to understand the Classical examples of ekphrasis and the visual evocations of the language used in ancient texts
* analyzing post-Classical allusions to the ancient visual imagination and ekphrases of ancient subject matter
* using modern cognitive approaches to explore the significance of the ancient emphasis on sight and visualization.
Please submit an abstract of 300-500 words to the panel "Seeing is Believing: Antiquity and Beyond" at https://nemla.org/convention/2015/cfp.html#cfp15214 by September 30, 2014. You will need to create a user account through the NeMLA website in order to submit an abstract. Please contact Claire Sommers (csommers@gc.cuny.edu) with any questions.
By web submission at 07/21/2014 - 01:41
CFP Shakespearean [Re]Visions: Adapting the Bard in 21st-Century Visual Culture (9/30/14; NeMLA Toronto 4/30-5/3/14)
NeMLA 2015 - Shakespearean [Re]Visions: Adapting the Bard in 21st-Century Visual Culture - Deadline 9/30/14
full name / name of organization:
Mary Ellen Iatropoulos
contact email:
maryiatrop@gmail.com
Source: http://call-for-papers.sas.upenn.edu/node/57659
Shakespearean [Re]Visions: Adapting the Bard in 21st-Century Visual Culture
Call for proposals for NeMLA 2015 panel
In what ways do twenty-first century adaptations of Shakespeare’s works refashion, reinvent, and comment upon the Bard’s texts? How is Shakespeare transformed through adaptation into visual media? What new insights are revealed about Shakespeare’s works through the art of adaptation in the digital age? This panel seeks proposals that examine interpretations, adaptations, and/or [re]visions of Shakespeare’s works in the twenty first century.
Chair: Mary Ellen Iatropoulos (maryiatrop@gmail.com)
Area: Culture & Media Studies
Cross: Interdisciplinary Humanities
*Abstract Deadline: September 30, 2014*
*Please Note: This year, NeMLA has implemented a user-based system to accept and track abstract submissions. In order to submit an abstract using the button for a CFP entry, you must **sign up* *with NeMLA and **log in* *. Using this new system, you can manage your personal information and review and update your abstract following submission. Signing up is free, and you only have to do it once. *
Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable.
NeMLA 2015 46th Annual Convention
Toronto; April 30-May 3, 2015
Host Institution: Ryerson University
Hotel: Fairmont Royal York
The Northeast Modern Language Association will meet in Toronto, Ontario, for its 46th annual convention. Every year, this event affords NeMLA’s principal opportunity to carry on a tradition of lively research and pedagogical exchange in language and literature. This year’s convention will include roundtable and caucus meetings, workshops, literary readings, film screenings, and guest speakers.
Toronto is Canada’s hub of international arts and culture, known for its diverse culinary scene and multicultural urban vitality. NeMLA convention delegates can explore galleries and museums, shop at historic markets, and discover vibrant international villages—all within a short commute of the convention hotel, the famous Fairmont Royal York, in the heart of downtown Toronto.
The call for session proposals is now closed. The Call for Papers will be available online and in NeMLA’s newsletter in June. Abstract proposals for convention 2015 will be due September 30, 2014.
By web submission at 07/18/2014 - 00:04
full name / name of organization:
Mary Ellen Iatropoulos
contact email:
maryiatrop@gmail.com
Source: http://call-for-papers.sas.upenn.edu/node/57659
Shakespearean [Re]Visions: Adapting the Bard in 21st-Century Visual Culture
Call for proposals for NeMLA 2015 panel
In what ways do twenty-first century adaptations of Shakespeare’s works refashion, reinvent, and comment upon the Bard’s texts? How is Shakespeare transformed through adaptation into visual media? What new insights are revealed about Shakespeare’s works through the art of adaptation in the digital age? This panel seeks proposals that examine interpretations, adaptations, and/or [re]visions of Shakespeare’s works in the twenty first century.
Chair: Mary Ellen Iatropoulos (maryiatrop@gmail.com)
Area: Culture & Media Studies
Cross: Interdisciplinary Humanities
*Abstract Deadline: September 30, 2014*
*Please Note: This year, NeMLA has implemented a user-based system to accept and track abstract submissions. In order to submit an abstract using the button for a CFP entry, you must **sign up* *with NeMLA and **log in* *. Using this new system, you can manage your personal information and review and update your abstract following submission. Signing up is free, and you only have to do it once. *
Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable.
NeMLA 2015 46th Annual Convention
Toronto; April 30-May 3, 2015
Host Institution: Ryerson University
Hotel: Fairmont Royal York
The Northeast Modern Language Association will meet in Toronto, Ontario, for its 46th annual convention. Every year, this event affords NeMLA’s principal opportunity to carry on a tradition of lively research and pedagogical exchange in language and literature. This year’s convention will include roundtable and caucus meetings, workshops, literary readings, film screenings, and guest speakers.
Toronto is Canada’s hub of international arts and culture, known for its diverse culinary scene and multicultural urban vitality. NeMLA convention delegates can explore galleries and museums, shop at historic markets, and discover vibrant international villages—all within a short commute of the convention hotel, the famous Fairmont Royal York, in the heart of downtown Toronto.
The call for session proposals is now closed. The Call for Papers will be available online and in NeMLA’s newsletter in June. Abstract proposals for convention 2015 will be due September 30, 2014.
By web submission at 07/18/2014 - 00:04
CFP Lost Girls and Teen Dreams: Constructions of Gender in Children’s and Young Adult Texts (8/11/14)
Lost Girls and Teen Dreams: Constructions of Gender in Children’s and Young Adult Texts (8/11/14)
full name / name of organization:
University of Wisconsin Colleges
contact email:
holly.hassel@uwc.edu
Source: http://call-for-papers.sas.upenn.edu/node/57685
Call for Proposals: Lost Girls and Teen Dreams: Constructions of Gender in Children’s and Young Adult Texts
Young adult literature has seen tremendous market growth in recent years, stemming from the explosive popularity of the Harry Potter series to the success of the Twilight series and later the Hunger Games series. Children’s literature remains both a popular and contested site of children’s literacy and social enculturation. Young adult texts provide a unique window into both the range of representations of gender construction as well as the ways in which children and teens react to these constructions. Further, popular culture is both a space in which young adults are enculturated to traditional gender expectations and an opportunity for gender conventions to evolve, to subvert, and to contest traditional gender boundaries.
Tricia Clasen (contributor to Bitten By Twilight and Heroines in Comics and Literature) and Holly Hassel (Contributor to Of Bread, Blood and The Hunger Games: Critical Essays on the Suzanne Collins Trilogy and co-author of The Critical Companion to JK Rowling) call for proposals for essays to be included in an upcoming anthology focused on gender in young adult literature and popular culture. We have an interested publisher but require a full prospectus for a confirmed contract.
Sitting at the intersection of cultural studies and literary studies, our vision for this edited collection is to collect diverse and complementary examinations of how gender operates in children’s and young adult literature. As a result, essays accepted for this collection should contribute to an understanding of the potential impact and of the current status of gender portrayals in children’s and young adult texts. The editors seek proposals from a broad range of gender studies approaches: feminist critiques and readings of popular or non-mainstream texts, readings from the perspective of masculinity studies, and examinations of gender construction (boys/girls/trans*). Further, we imagine an expansive definition of "texts" that might include a range of traditional print texts such as novels, short stories, picture books, nonfiction, etc. as well as comic books, mixed textual/image works for children (such as the Diary of a Wimpy Kid and Ellie McDoodle series), graphic novels, and other print and electronic texts aimed at child and adolescent readers.
The topics below are intended as suggestions, but the editors welcome related proposals:
For submissions, please include:
Deadline for proposals: August 11, 2014
Please submit your materials as a single word or PDF document as an attachment. Copy Dr. Tricia Clasen and Dr. Holly Hassel at tricia.clasen@uwc.edu and holly.hassel@uwc.edu.
By web submission at 07/21/2014 - 18:32
full name / name of organization:
University of Wisconsin Colleges
contact email:
holly.hassel@uwc.edu
Source: http://call-for-papers.sas.upenn.edu/node/57685
Call for Proposals: Lost Girls and Teen Dreams: Constructions of Gender in Children’s and Young Adult Texts
Young adult literature has seen tremendous market growth in recent years, stemming from the explosive popularity of the Harry Potter series to the success of the Twilight series and later the Hunger Games series. Children’s literature remains both a popular and contested site of children’s literacy and social enculturation. Young adult texts provide a unique window into both the range of representations of gender construction as well as the ways in which children and teens react to these constructions. Further, popular culture is both a space in which young adults are enculturated to traditional gender expectations and an opportunity for gender conventions to evolve, to subvert, and to contest traditional gender boundaries.
Tricia Clasen (contributor to Bitten By Twilight and Heroines in Comics and Literature) and Holly Hassel (Contributor to Of Bread, Blood and The Hunger Games: Critical Essays on the Suzanne Collins Trilogy and co-author of The Critical Companion to JK Rowling) call for proposals for essays to be included in an upcoming anthology focused on gender in young adult literature and popular culture. We have an interested publisher but require a full prospectus for a confirmed contract.
Sitting at the intersection of cultural studies and literary studies, our vision for this edited collection is to collect diverse and complementary examinations of how gender operates in children’s and young adult literature. As a result, essays accepted for this collection should contribute to an understanding of the potential impact and of the current status of gender portrayals in children’s and young adult texts. The editors seek proposals from a broad range of gender studies approaches: feminist critiques and readings of popular or non-mainstream texts, readings from the perspective of masculinity studies, and examinations of gender construction (boys/girls/trans*). Further, we imagine an expansive definition of "texts" that might include a range of traditional print texts such as novels, short stories, picture books, nonfiction, etc. as well as comic books, mixed textual/image works for children (such as the Diary of a Wimpy Kid and Ellie McDoodle series), graphic novels, and other print and electronic texts aimed at child and adolescent readers.
The topics below are intended as suggestions, but the editors welcome related proposals:
- gender and genre conventions in popular series
- subversive approaches to gender, femininity, masculinity in popular or alternate series
- gender, race, class, and difference in children’s and young adult literature
- treatment of sexuality and trans* issues in children’s texts
- evolving representations of gender, femininity, masculinity in specific works by a single author or within a genre
- Responses to evolving gender representations in literature-based fan communities and/or social networking sites.
- Treatment of diversified gendered perspectives upon adaptation
For submissions, please include:
- a proposed chapter title
- an abstract of your proposed essay (no more than 500 words), including your proposed area of inquiry, original thesis, and overview of the essay’s argument
- an abbreviated curriculum vitae highlighting your relevant teaching, research, and service experience to the book’s focus
Deadline for proposals: August 11, 2014
Please submit your materials as a single word or PDF document as an attachment. Copy Dr. Tricia Clasen and Dr. Holly Hassel at tricia.clasen@uwc.edu and holly.hassel@uwc.edu.
By web submission at 07/21/2014 - 18:32
CFP SWPACA Children’s/Young Adult Literature and Culture Area (11/1/14; Albuquerque 2/11-14/15)
CFP: SWPACA Children’s/Young Adult Literature and Culture Area (11/1/14; 2/11-14/15)
full name / name of organization:
Southwest Popular/American Culture Association
contact email:
gypsyscholar@rgv.rr.com
Submission Deadline: November 1, 2014
Source: http://call-for-papers.sas.upenn.edu/node/57702
SWPACA Children’s/Young Adult Literature and Culture Area
36th Annual Southwest Popular/American Culture Association Conference
February 11-14, 2015
Albuquerque, NM
http://southwestpca.org/
Submission deadline: November 1, 2014
Submit proposals to: http://conference2015.southwestpca.org
Conference hotel:
Hyatt Regency Albuquerque
300 Tijeras Avenue NW
Albuquerque, NM 87102
Further conference details are available at http://southwestpca.org/
Please join us in Albuquerque, New Mexico, in February 2015 for the 36th annual Southwest Popular/American Culture Association Conference. The overall theme for this year’s conference is “Many Faces, Many Voices: Intersecting Borders in Popular and American Culture.”
Playing off the overall conference theme, the Children’s and Young Adult Literature and Culture area has taken as its theme “Breaking Boundaries, Blurring Lines in Children’s and Young Adult Literature and Culture.” We highly encourage “thinking outside the box” with this theme. We would especially be interested in papers that look at how children’s and young adult authors and works push, break, or blur narrative, form, genre, language, gender, ethnicity, racial, and other societal boundaries. How do children’s and young adult literature and culture make room for the many faces and many voices in popular and American culture? Are there any clear-cut lines between what constitutes “children’s” and “young adult” literature, or even literature “for adults” for that matter?
While papers addressing the conference or area theme will be given preference, papers addressing other aspects in children’s and young adult literature and culture will also be read with interest.
This area covers a wide variety of possible mediums: traditional book/literature culture, but also comics, graphic novels, film, television, music, video games, toys, internet environment, fan fiction, advertising, marketing tie-ins to books and films, just to name a few. Proposals on fiction, non-fiction, poetry, picture books, wordless picture books, or cross-genre topics are welcome. Interdisciplinary approaches are especially welcome, as are presentations that go beyond the traditional scholarly paper format.
Scholars, researchers, professionals, teachers, graduate students and others interested in this area are encouraged to submit an abstract. Graduate students are especially encouraged and will be assisted in accessing any and all award opportunities the conference and/or associations provide. Award categories can be found here: http://southwestpca.org/conference/graduate-student-awards/. Upon acceptance of a proposal, I will send out information on which awards would be most suited to the subject matter of the presentation. Submission deadline for all award categories is December 1, 2014.
We would like to encourage scholars and students outside of the United States to submit proposals. However, all potential presenters need to be aware that our conference rules state that participants must present their papers in person at the conference. Given the more complex nature of international travel these days, we encourage international proposals be submitted as early as possible so as to provide enough time to make those travel arrangements.
All proposals need to be submitted using our conference submission database at http://conference2015.southwestpca.org/. This database is used to send out acceptance notifications, organize panels, and put the conference program together. It is important for all submitters to enter their contact information and presentation proposal information into the database to avoid confusion.
In addition, please check out the organization’s new peer-reviewed, quarterly journal: Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. (Find more information at http://journaldialogue.org.)
Please submit proposals of 250 words and a brief bio (100 words) for individual presentations, or a proposal for a full panel (3-4 papers on a panel – please note that each person on the panel must submit his/her own contact information, abstract, and brief bio on a separate proposal form) to our conference database at http://conference2015.southwestpca.org/.
Proposal submission deadline: November 1, 2014
For questions, or if you encounter problems with submitting proposals to the database, please contact Diana Dominguez, Area Chair. Please put SWPACA in the subject line so I can filter the messages effectively.
Contact info:
Diana Dominguez
Area Chair: Children’s and Young Adult Literature and Culture
gypsyscholar@rgv.rr.com
The University of Texas at Brownsville
By web submission at 07/22/2014 - 14:28
full name / name of organization:
Southwest Popular/American Culture Association
contact email:
gypsyscholar@rgv.rr.com
Submission Deadline: November 1, 2014
Source: http://call-for-papers.sas.upenn.edu/node/57702
SWPACA Children’s/Young Adult Literature and Culture Area
36th Annual Southwest Popular/American Culture Association Conference
February 11-14, 2015
Albuquerque, NM
http://southwestpca.org/
Submission deadline: November 1, 2014
Submit proposals to: http://conference2015.southwestpca.org
Conference hotel:
Hyatt Regency Albuquerque
300 Tijeras Avenue NW
Albuquerque, NM 87102
Further conference details are available at http://southwestpca.org/
Please join us in Albuquerque, New Mexico, in February 2015 for the 36th annual Southwest Popular/American Culture Association Conference. The overall theme for this year’s conference is “Many Faces, Many Voices: Intersecting Borders in Popular and American Culture.”
Playing off the overall conference theme, the Children’s and Young Adult Literature and Culture area has taken as its theme “Breaking Boundaries, Blurring Lines in Children’s and Young Adult Literature and Culture.” We highly encourage “thinking outside the box” with this theme. We would especially be interested in papers that look at how children’s and young adult authors and works push, break, or blur narrative, form, genre, language, gender, ethnicity, racial, and other societal boundaries. How do children’s and young adult literature and culture make room for the many faces and many voices in popular and American culture? Are there any clear-cut lines between what constitutes “children’s” and “young adult” literature, or even literature “for adults” for that matter?
While papers addressing the conference or area theme will be given preference, papers addressing other aspects in children’s and young adult literature and culture will also be read with interest.
This area covers a wide variety of possible mediums: traditional book/literature culture, but also comics, graphic novels, film, television, music, video games, toys, internet environment, fan fiction, advertising, marketing tie-ins to books and films, just to name a few. Proposals on fiction, non-fiction, poetry, picture books, wordless picture books, or cross-genre topics are welcome. Interdisciplinary approaches are especially welcome, as are presentations that go beyond the traditional scholarly paper format.
Scholars, researchers, professionals, teachers, graduate students and others interested in this area are encouraged to submit an abstract. Graduate students are especially encouraged and will be assisted in accessing any and all award opportunities the conference and/or associations provide. Award categories can be found here: http://southwestpca.org/conference/graduate-student-awards/. Upon acceptance of a proposal, I will send out information on which awards would be most suited to the subject matter of the presentation. Submission deadline for all award categories is December 1, 2014.
We would like to encourage scholars and students outside of the United States to submit proposals. However, all potential presenters need to be aware that our conference rules state that participants must present their papers in person at the conference. Given the more complex nature of international travel these days, we encourage international proposals be submitted as early as possible so as to provide enough time to make those travel arrangements.
All proposals need to be submitted using our conference submission database at http://conference2015.southwestpca.org/. This database is used to send out acceptance notifications, organize panels, and put the conference program together. It is important for all submitters to enter their contact information and presentation proposal information into the database to avoid confusion.
In addition, please check out the organization’s new peer-reviewed, quarterly journal: Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. (Find more information at http://journaldialogue.org.)
Please submit proposals of 250 words and a brief bio (100 words) for individual presentations, or a proposal for a full panel (3-4 papers on a panel – please note that each person on the panel must submit his/her own contact information, abstract, and brief bio on a separate proposal form) to our conference database at http://conference2015.southwestpca.org/.
Proposal submission deadline: November 1, 2014
For questions, or if you encounter problems with submitting proposals to the database, please contact Diana Dominguez, Area Chair. Please put SWPACA in the subject line so I can filter the messages effectively.
Contact info:
Diana Dominguez
Area Chair: Children’s and Young Adult Literature and Culture
gypsyscholar@rgv.rr.com
The University of Texas at Brownsville
By web submission at 07/22/2014 - 14:28
Friday, July 25, 2014
CFP 36th Annual Conference of the Nineteenth Century Studies Association (9/30/14; Boston 3/26-28/15)
36th Annual Conference of the Nineteenth Century Studies Association
Location: Massachusetts, United States
Call for Papers Date: 2015-03-26
Date Submitted: 2014-06-10
Announcement ID: 214389
(PDF version at http://www.ncsaweb.net/Portals/0/Documents/NCSA%202014%20CFP.pdf)
Call for Papers
36th Annual Conference of the Nineteenth Century Studies Association
March 26-28, 2015 – Boston, MA
Material Cultures/Material Worlds
"What would happen to our thinking about politics if we took more seriously the idea that technological and natural materialities were themselves actors alongside and within us - were vitalities, trajectories, and powers irreducible to the meanings, intentions, or symbolic values humans invest in them?" -- Jane Bennett
We seek papers and panels that investigate elements of the material world belonging to the long nineteenth century. Topics may include collecting, possession(s), things and thing theories, realism, hoarding, bric-abrac, souvenirs, historic houses (interiors and rooms), buildings and “truth to materials,” collecting folklore and songs, Atlantic trade, colonial objects, commodity fetishism, animals as things (taxidermy, zoos, taxonomies), people as things (slavery, human zoos, relics, death masks), cabinets of curiosity, closets, antiquities, museum displays, theatrical stages and sets, textures, books and manuscripts as objects, the materiality of texts, art materials, food, fraudulent items or the luxury trade. We invite alternate interpretations of the theme as well.
Please email 250-word abstracts for 20-minute papers along with one-page CVs to the program chairs by September 30, 2014 to ncsaboston2015@gmail.com. Paper abstracts should include author's name, institutional affiliation, and paper title in the heading. We welcome panel proposals with three panelists and a moderator or alternative formats with pre-circulated papers and discussion.
Please note that submission of a proposal constitutes a commitment to attend the conference if the proposal is accepted. All proposals received will be acknowledged, and presenters will be notified in November 2014.Graduate students whose proposals are accepted may, at that point, submit complete papers in competition for a travel grant to help cover transportation and lodging expenses. Scholars who live outside the North American continent, whose proposals have been accepted, may submit a full paper to be considered for the International Scholar Travel Grant (see NCSA website for additional requirements http://www.ncsaweb.net).
Lucy Morrison
Email: lxmorrison@salisbury.edu
Visit the website at http://www.ncsaweb.net
Location: Massachusetts, United States
Call for Papers Date: 2015-03-26
Date Submitted: 2014-06-10
Announcement ID: 214389
(PDF version at http://www.ncsaweb.net/Portals/0/Documents/NCSA%202014%20CFP.pdf)
Call for Papers
36th Annual Conference of the Nineteenth Century Studies Association
March 26-28, 2015 – Boston, MA
Material Cultures/Material Worlds
"What would happen to our thinking about politics if we took more seriously the idea that technological and natural materialities were themselves actors alongside and within us - were vitalities, trajectories, and powers irreducible to the meanings, intentions, or symbolic values humans invest in them?" -- Jane Bennett
We seek papers and panels that investigate elements of the material world belonging to the long nineteenth century. Topics may include collecting, possession(s), things and thing theories, realism, hoarding, bric-abrac, souvenirs, historic houses (interiors and rooms), buildings and “truth to materials,” collecting folklore and songs, Atlantic trade, colonial objects, commodity fetishism, animals as things (taxidermy, zoos, taxonomies), people as things (slavery, human zoos, relics, death masks), cabinets of curiosity, closets, antiquities, museum displays, theatrical stages and sets, textures, books and manuscripts as objects, the materiality of texts, art materials, food, fraudulent items or the luxury trade. We invite alternate interpretations of the theme as well.
Please email 250-word abstracts for 20-minute papers along with one-page CVs to the program chairs by September 30, 2014 to ncsaboston2015@gmail.com. Paper abstracts should include author's name, institutional affiliation, and paper title in the heading. We welcome panel proposals with three panelists and a moderator or alternative formats with pre-circulated papers and discussion.
Please note that submission of a proposal constitutes a commitment to attend the conference if the proposal is accepted. All proposals received will be acknowledged, and presenters will be notified in November 2014.Graduate students whose proposals are accepted may, at that point, submit complete papers in competition for a travel grant to help cover transportation and lodging expenses. Scholars who live outside the North American continent, whose proposals have been accepted, may submit a full paper to be considered for the International Scholar Travel Grant (see NCSA website for additional requirements http://www.ncsaweb.net).
Lucy Morrison
Email: lxmorrison@salisbury.edu
Visit the website at http://www.ncsaweb.net
Thursday, July 24, 2014
CFP Youth Culture in Contemporary Media (7/31/14; Montreal March 2015)
SCMS 2015 Proposed Panel: "Youth Culture in Contemporary Media" Deadline July 31, 2014
full name / name of organization:
Society for Cinema and Media Studies annual conference, March 2015, Montreal, Canada
contact email:
karin.beeler@unbc.ca; tshary17@gmail.com
Source: http://call-for-papers.sas.upenn.edu/node/57447
Youth Culture in Contemporary Media
Co-chairs: Karin Beeler and Timothy Shary
Society for Cinema and Media Studies annual conference, March 2015, Montreal, Canada
Youth culture (be it people from age ten into their twenties) continually exerts enormous influence on the media industries to develop new products and promote new content, and those industries are in a constant race to maintain the attention of the youth market. Many of the postwar trends that led to the rise of numerous adolescent stars and the development of corresponding movies and TV shows are still in play today, with a disproportional amount of all screen media (and music) devoted to youth, even when their share of the population has been decreasing. Yet the messages about youth contained in so much of the media are suspect, not only due to their exploitative aims, but because so few people under the age of twenty-five are actually generating them.
This panel seeks to address how youth are represented in contemporary media through a wide appreciation for the stakes of that representation. How do the images of young people in movies and on TV today convey or distort their real lives? Why have these media lately gravitated toward fantasy stories (especially the monstrous and supernatural) and what aspects of current youth experiences are highlighted or subverted by those stories? What explains their displacement of traditional teen concerns about delinquency and sexuality? What do youth stand to gain and lose in their reception of contemporary media about them?
Please submit a proposal that details your idea for a paper on this topic, listing the relevant films/shows you will consider, as well as the research from which you are working. Also include a short biographical statement about yourself. Please send us your proposal by July 31, and we will notify you of our decision by August 12.
If we accept your proposal for our panel, we’ll then expect you to remodel your proposal according to SCMS requirements: a summary of no more than 2500 characters, 3 or more keywords, 3-5 sources, and a bio of no more than 500 characters. That proposal must reach us by August 22.
Please send a proposal to each of us: Karin Beeler (karin.beeler@unbc.ca) and Timothy Shary (tshary17@gmail.com).
By web submission at 07/03/2014 - 02:47
full name / name of organization:
Society for Cinema and Media Studies annual conference, March 2015, Montreal, Canada
contact email:
karin.beeler@unbc.ca; tshary17@gmail.com
Source: http://call-for-papers.sas.upenn.edu/node/57447
Youth Culture in Contemporary Media
Co-chairs: Karin Beeler and Timothy Shary
Society for Cinema and Media Studies annual conference, March 2015, Montreal, Canada
Youth culture (be it people from age ten into their twenties) continually exerts enormous influence on the media industries to develop new products and promote new content, and those industries are in a constant race to maintain the attention of the youth market. Many of the postwar trends that led to the rise of numerous adolescent stars and the development of corresponding movies and TV shows are still in play today, with a disproportional amount of all screen media (and music) devoted to youth, even when their share of the population has been decreasing. Yet the messages about youth contained in so much of the media are suspect, not only due to their exploitative aims, but because so few people under the age of twenty-five are actually generating them.
This panel seeks to address how youth are represented in contemporary media through a wide appreciation for the stakes of that representation. How do the images of young people in movies and on TV today convey or distort their real lives? Why have these media lately gravitated toward fantasy stories (especially the monstrous and supernatural) and what aspects of current youth experiences are highlighted or subverted by those stories? What explains their displacement of traditional teen concerns about delinquency and sexuality? What do youth stand to gain and lose in their reception of contemporary media about them?
Please submit a proposal that details your idea for a paper on this topic, listing the relevant films/shows you will consider, as well as the research from which you are working. Also include a short biographical statement about yourself. Please send us your proposal by July 31, and we will notify you of our decision by August 12.
If we accept your proposal for our panel, we’ll then expect you to remodel your proposal according to SCMS requirements: a summary of no more than 2500 characters, 3 or more keywords, 3-5 sources, and a bio of no more than 500 characters. That proposal must reach us by August 22.
Please send a proposal to each of us: Karin Beeler (karin.beeler@unbc.ca) and Timothy Shary (tshary17@gmail.com).
By web submission at 07/03/2014 - 02:47
CFP Anomalous Embodiment in Young Adult Speculative Fiction (9/15/14)
CfP: Anomalous Embodiment in Young Adult Speculative Fiction
Posted on June 4, 2014 by Public Information Officer
“I don’t think I am like other people”: Anomalous Embodiment in Young Adult Speculative Fiction.
Source: http://www.fantastic-arts.org/2014/cfp-anomalous-embodiment-in-young-adult-speculative-fiction/
Editors Sherryl Vint and Mathieu Donner are seeking submissions for a volume of essays on young adult literature entitled Anomalous Embodiment in Young Adult Speculative Fiction.
The large commercial as well as critical successes of such works as J.K. Rowling’s Harry Potter, Suzanne Collins’s The Hunger Games, Philip Pullman’s His Dark Materials or Stephanie Meyer’s Twilight series have pushed young adult fiction to the forefront of the literary world. However, and though most of these texts themselves engage in one way or another with questions related to the body, and, more precisely, to a body that refuses to conform to social norms as to what a body ‘ought to be’, few academic studies have really explored the relation that young adult fiction entertains with this adolescent ‘abnormal’ body.
In her work on corporeal feminism, Volatile Bodies, Elizabeth Grosz suggests that adolescence is not only the period during which the body itself undergoes massive transformation, shifting from childhood to adulthood, but that it is also in this period that ‘the subject feels the greatest discord between the body image and the lived body, between its psychical idealized self-image and its bodily changes’ and that therefore, the ‘philosophical desire to transcend corporeality and its urges may be dated from this period’ (Volatile Bodies 75). Following upon Grosz’s observation, this interdisciplinary collection of essays addresses the relation that young adult fiction weaves between the adolescent body and the ‘norm’, this socially constructed idealized body image which the subject perceives to be in direct conflict with her/his own experience.
This collection will thus be centred on the representation, both positive and negative, of such body or bodies. From the vampiric and lycanthropic bodies of Twilight and Teen Wolf to the ‘harvested’ bodies of Neal Shusterman’s novel Unwind, YA fiction entertains a complex relation to the adolescent body. Often singularized as ‘abnormal’, this body comes to symbolise the violence of a hegemonic and normative medical discourse which constitutes itself around an ideal of ‘normality’. However, and more than a simple condemnation or interrogation of the problematic dominant representation of the corporeal within young adult fiction, this collection also proposes to explore how such texts can present a foray into new alternative territories. As such, the collection proposes a focus on what Gilles Deleuze and Félix Guattari’s label the anomalous body, or embodiment re-articulated not necessarily as the presumption of an inside and an outside of normality, but rather as ‘a position or set of positions in relation to a multiplicity’ (A Thousand Plateaus, 244), one which interrogates and challenges the setting of such a boundary by positioning itself at the threshold of normativity.
We are particularly looking for contributions on works which either (1) interrogate, problematize the dominant discourse on normative embodiment present in YA fiction, (2) emphasize, by a play on repetition or any other means, the limitations of the traditional discourse on the ‘abnormal’ or ‘disabled’ body, and signal the inherent violence of such normative paradigms, and/or (3) propose an alternative approach to the anomalous body. Relevant topics include (but are not limited to):
We invite proposals (approximately 500 words) for 8’000-10’000-word chapters by Monday 15th September. Abstract submissions should be included in a Word document and sent to Sherryl Vint (sherryl.vint@ucr.edu) and Mathieu Donner (Mathieu.Donner@nottingham.ac.uk). Please remember to include name, affiliation, academic title and email address. Postgraduate and early-careers researchers are encouraged to participate.
Posted on June 4, 2014 by Public Information Officer
“I don’t think I am like other people”: Anomalous Embodiment in Young Adult Speculative Fiction.
Source: http://www.fantastic-arts.org/2014/cfp-anomalous-embodiment-in-young-adult-speculative-fiction/
Editors Sherryl Vint and Mathieu Donner are seeking submissions for a volume of essays on young adult literature entitled Anomalous Embodiment in Young Adult Speculative Fiction.
The large commercial as well as critical successes of such works as J.K. Rowling’s Harry Potter, Suzanne Collins’s The Hunger Games, Philip Pullman’s His Dark Materials or Stephanie Meyer’s Twilight series have pushed young adult fiction to the forefront of the literary world. However, and though most of these texts themselves engage in one way or another with questions related to the body, and, more precisely, to a body that refuses to conform to social norms as to what a body ‘ought to be’, few academic studies have really explored the relation that young adult fiction entertains with this adolescent ‘abnormal’ body.
In her work on corporeal feminism, Volatile Bodies, Elizabeth Grosz suggests that adolescence is not only the period during which the body itself undergoes massive transformation, shifting from childhood to adulthood, but that it is also in this period that ‘the subject feels the greatest discord between the body image and the lived body, between its psychical idealized self-image and its bodily changes’ and that therefore, the ‘philosophical desire to transcend corporeality and its urges may be dated from this period’ (Volatile Bodies 75). Following upon Grosz’s observation, this interdisciplinary collection of essays addresses the relation that young adult fiction weaves between the adolescent body and the ‘norm’, this socially constructed idealized body image which the subject perceives to be in direct conflict with her/his own experience.
This collection will thus be centred on the representation, both positive and negative, of such body or bodies. From the vampiric and lycanthropic bodies of Twilight and Teen Wolf to the ‘harvested’ bodies of Neal Shusterman’s novel Unwind, YA fiction entertains a complex relation to the adolescent body. Often singularized as ‘abnormal’, this body comes to symbolise the violence of a hegemonic and normative medical discourse which constitutes itself around an ideal of ‘normality’. However, and more than a simple condemnation or interrogation of the problematic dominant representation of the corporeal within young adult fiction, this collection also proposes to explore how such texts can present a foray into new alternative territories. As such, the collection proposes a focus on what Gilles Deleuze and Félix Guattari’s label the anomalous body, or embodiment re-articulated not necessarily as the presumption of an inside and an outside of normality, but rather as ‘a position or set of positions in relation to a multiplicity’ (A Thousand Plateaus, 244), one which interrogates and challenges the setting of such a boundary by positioning itself at the threshold of normativity.
We are particularly looking for contributions on works which either (1) interrogate, problematize the dominant discourse on normative embodiment present in YA fiction, (2) emphasize, by a play on repetition or any other means, the limitations of the traditional discourse on the ‘abnormal’ or ‘disabled’ body, and signal the inherent violence of such normative paradigms, and/or (3) propose an alternative approach to the anomalous body. Relevant topics include (but are not limited to):
- (Re-)Articulating disability;
- The adolescent as ‘abnormally’ embodied;
- Transcending gender and the sexuated body;
- Medical norms and the violence of ‘normative’ embodiment;
- Bodies and prosthetic technologies, or the posthuman boundary;
- Genetics, Diseases and medication, or transforming the body from the inside;
- Cognitive readings of the body, or how do we read body difference;
- Embodied subjectivities, anomalous/abnormal consciousness;
We invite proposals (approximately 500 words) for 8’000-10’000-word chapters by Monday 15th September. Abstract submissions should be included in a Word document and sent to Sherryl Vint (sherryl.vint@ucr.edu) and Mathieu Donner (Mathieu.Donner@nottingham.ac.uk). Please remember to include name, affiliation, academic title and email address. Postgraduate and early-careers researchers are encouraged to participate.
CFP Scientific Imagination-ICFA 36 (10/31/14; Orlando 3/18-22/15)
Thirty-Sixth International Conference on the Fantastic in the Arts
The Scientific Imagination
March 18-22, 2015
Marriott Orlando Airport Hotel
Source: http://www.fantastic-arts.org/annual-conference/next-2/
The Scientific Imagination will be the theme for ICFA 36. Join us as we explore the possibilities and intersections of science and imagination—from Faust and Frankenstein, through the Golden Age and the New Wave, to steampunk and mash-ups—in all their guises, including fiction, film, television, music, theater, comics, visual art, and social media. Papers might explore topics such as rationalism vs. belief, science for good and ill, alternate and speculative technologies and biologies, futurism, imaginary sciences, time travel, and the tensions inherent in discovery, among other topics. We welcome papers on the work of our guests: Guest of Honor James K. Morrow (winner of the Sturgeon Award, the World Fantasy Award, and two Nebula Awards) Guest of Honor Joan Slonczewski (winner of two Campbell Awards), and Guest Scholar Colin Milburn (author of Nanovision: Engineering the Future). We also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. The deadline for proposals is October 31, 2014. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, and graduate students.
To Attend the International Conference on the Fantastic in the Arts
http://www.fantastic-arts.org/annual-conference/submissions/
Some important steps:
Send in a paper proposal by going to http://fantastic-arts.org/icfa-submissions/ (see the Call for Papers, above).
Register or renew as a member of IAFA: http://fantastic-arts.org/membership/.
(Note: If you received an email about the new membership system in the last few months, use your receiving email address and click on “forgot password” to set up a password for yourself. )
Register to attend the ICFA.
(Note: Conference registration will open soon. However the new membership system is up and running.)
Book accommodation with the conference hotel. Read the ICFA-36 Hotel Information and look at some pictures from the hotel and vicinity. Note that the hotel operates a complimentary airport shuttle service from Orlando Airport. Should you prefer taxi, the estimated fee (one way) is USD 10.
If you are new to the conference, you might want to check out affiliated organizations.
Membership or registration questions can be directed to IAFA Membership & Registration Coordinator, Valorie Ebert through the Contact Page.
Guest of Honor
James Morrow
James Morrow is a science fiction writer and author of the Godhead Trilogy, which includes the novels Towing Jehovah, Blameless in Abaddon, and The Eternal Footman. He has won the Theodore Sturgeon award for Shambling Towards Hiroshima, the World Fantasy Award for Only Begotten Daughter, and Nebula Awards for “City of Truth” and “Bible Stories for Adults, No. 17: The Deluge.” A self-described “scientific humanist,” he is widely recognized as one of our premiere satirists of religion, philosophy, and human belief systems. He is also a playwright. His most recent novels are The Philosopher’s Apprentice and Shambling Towards Hiroshima.
Guest of Honor
Joan Slonczewski
Joan Slonczewski is a Professor of Microbiology at Kenyon College and an award-winning science fiction writer. She holds a Ph.D. in Molecular Biophysics and Biochemistry from Yale University and teaches courses including Microbiology, Virology, and Biology in Science Fiction at Kenyon, in addition to mentoring students conducting research in Kenyon’s Bacterial pH Laboratory. She has won grants for her research from the National Institutes of Health, the National Science Foundation, and other major donors. She has twice received the John W. Campbell Award for best science fiction novel, for The Highest Frontier and A Door Into Ocean.
Guest Scholar
Colin Milburn
Colin Milburn holds the Gary Snyder Chair in Science and the Humanities at UC Davis, where he is an Associate Professor of English and Director of the UC Davis Humanities Innovation Lab. His research focuses on the intersections of science, literature, and media technologies, and he is affiliated with programs in Cinema and Technocultural Studies, Performance Studies, Cultural Studies, and Critical Theory, as well as the W. M. Keck Center for Active Visualization in the Earth and the Center for Science & Innovation Studies. His books include Nanovision: Engineering the Future and Mondo Nano: Fun and Games in the World of Digital Matter, forthcoming in 2014.
More information forthcoming at www.iafa.org.
The Scientific Imagination
March 18-22, 2015
Marriott Orlando Airport Hotel
Source: http://www.fantastic-arts.org/annual-conference/next-2/
The Scientific Imagination will be the theme for ICFA 36. Join us as we explore the possibilities and intersections of science and imagination—from Faust and Frankenstein, through the Golden Age and the New Wave, to steampunk and mash-ups—in all their guises, including fiction, film, television, music, theater, comics, visual art, and social media. Papers might explore topics such as rationalism vs. belief, science for good and ill, alternate and speculative technologies and biologies, futurism, imaginary sciences, time travel, and the tensions inherent in discovery, among other topics. We welcome papers on the work of our guests: Guest of Honor James K. Morrow (winner of the Sturgeon Award, the World Fantasy Award, and two Nebula Awards) Guest of Honor Joan Slonczewski (winner of two Campbell Awards), and Guest Scholar Colin Milburn (author of Nanovision: Engineering the Future). We also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. The deadline for proposals is October 31, 2014. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, and graduate students.
To Attend the International Conference on the Fantastic in the Arts
http://www.fantastic-arts.org/annual-conference/submissions/
Some important steps:
Send in a paper proposal by going to http://fantastic-arts.org/icfa-submissions/ (see the Call for Papers, above).
Register or renew as a member of IAFA: http://fantastic-arts.org/membership/.
(Note: If you received an email about the new membership system in the last few months, use your receiving email address and click on “forgot password” to set up a password for yourself. )
Register to attend the ICFA.
(Note: Conference registration will open soon. However the new membership system is up and running.)
Book accommodation with the conference hotel. Read the ICFA-36 Hotel Information and look at some pictures from the hotel and vicinity. Note that the hotel operates a complimentary airport shuttle service from Orlando Airport. Should you prefer taxi, the estimated fee (one way) is USD 10.
If you are new to the conference, you might want to check out affiliated organizations.
Membership or registration questions can be directed to IAFA Membership & Registration Coordinator, Valorie Ebert through the Contact Page.
Guest of Honor
James Morrow
James Morrow is a science fiction writer and author of the Godhead Trilogy, which includes the novels Towing Jehovah, Blameless in Abaddon, and The Eternal Footman. He has won the Theodore Sturgeon award for Shambling Towards Hiroshima, the World Fantasy Award for Only Begotten Daughter, and Nebula Awards for “City of Truth” and “Bible Stories for Adults, No. 17: The Deluge.” A self-described “scientific humanist,” he is widely recognized as one of our premiere satirists of religion, philosophy, and human belief systems. He is also a playwright. His most recent novels are The Philosopher’s Apprentice and Shambling Towards Hiroshima.
Guest of Honor
Joan Slonczewski
Joan Slonczewski is a Professor of Microbiology at Kenyon College and an award-winning science fiction writer. She holds a Ph.D. in Molecular Biophysics and Biochemistry from Yale University and teaches courses including Microbiology, Virology, and Biology in Science Fiction at Kenyon, in addition to mentoring students conducting research in Kenyon’s Bacterial pH Laboratory. She has won grants for her research from the National Institutes of Health, the National Science Foundation, and other major donors. She has twice received the John W. Campbell Award for best science fiction novel, for The Highest Frontier and A Door Into Ocean.
Guest Scholar
Colin Milburn
Colin Milburn holds the Gary Snyder Chair in Science and the Humanities at UC Davis, where he is an Associate Professor of English and Director of the UC Davis Humanities Innovation Lab. His research focuses on the intersections of science, literature, and media technologies, and he is affiliated with programs in Cinema and Technocultural Studies, Performance Studies, Cultural Studies, and Critical Theory, as well as the W. M. Keck Center for Active Visualization in the Earth and the Center for Science & Innovation Studies. His books include Nanovision: Engineering the Future and Mondo Nano: Fun and Games in the World of Digital Matter, forthcoming in 2014.
More information forthcoming at www.iafa.org.
CFP Doctor Who (Spec. Issue of Deletion) (5/30/14)
Another older call of interest:
CFP: Deletion, special themed episode on Dr Who
Source: http://fanstudies.wordpress.com/2014/04/15/cfp-deletion-special-themed-episode-on-dr-who/
Deletion Special Episode CFP Doctor Who: “…definitely a madman with a box!”
Deletion, the open access online forum in science fiction studies, is calling fororiginal contributions for a special themed ‘episode’ on Doctor Who. Following the 50th anniversary celebrations the return of the Time Lord later this year. What new directions are possible for a series with such history, production demands and passionate fandom?
Deletion invites contributions from science, philosophy and all other approaches that consider the visual alongside the aural and the aesthetic, to critically engage with the series’ future, past and present and to forge new perspectives for the study of this iconic SF imaginarium. We aim to reflect a diversity of approaches and seek contributions that offer new critical dimensions and concepts to engage with the series, its themes and concepts, its cultural importance and its impact, directions and meaning. Deletion encourages the submission of non-standard submissions such as creative pieces.
Contributions should be between 1200 -1500 words, but can also take the form of 2-3 minute podcasts, video blogs, image galleries, and other media.
Submission are Due May 30, 2014.
Topics may include but are not limited to:
Please contact the editors for the episode Christopher Moore (chrism@uow.edu.au) or Daniel Lewis (djle@deakin.edu.au) for further information.
CFP: Deletion, special themed episode on Dr Who
Source: http://fanstudies.wordpress.com/2014/04/15/cfp-deletion-special-themed-episode-on-dr-who/
Deletion Special Episode CFP Doctor Who: “…definitely a madman with a box!”
Deletion, the open access online forum in science fiction studies, is calling fororiginal contributions for a special themed ‘episode’ on Doctor Who. Following the 50th anniversary celebrations the return of the Time Lord later this year. What new directions are possible for a series with such history, production demands and passionate fandom?
Deletion invites contributions from science, philosophy and all other approaches that consider the visual alongside the aural and the aesthetic, to critically engage with the series’ future, past and present and to forge new perspectives for the study of this iconic SF imaginarium. We aim to reflect a diversity of approaches and seek contributions that offer new critical dimensions and concepts to engage with the series, its themes and concepts, its cultural importance and its impact, directions and meaning. Deletion encourages the submission of non-standard submissions such as creative pieces.
Contributions should be between 1200 -1500 words, but can also take the form of 2-3 minute podcasts, video blogs, image galleries, and other media.
Submission are Due May 30, 2014.
Topics may include but are not limited to:
- Death and Life and Regeneration
- Reimagining Time and Space: multi-dimensional perspectives and places
- Conservation and environmentalism restarting the universe
- Mental health and time travel
- Companion; bodies, genders, races and people
- Technology; and non-technology technology
- Whovians and fan cultures, commodities, cosplay, crafts, economies, and relations
- Genre policing: science fiction, fantasy or space opera?
- Time Lords: politics, power, society, order and chaos,
- New Who and Old Who: transmedia, paratextual industries and innovation
Please contact the editors for the episode Christopher Moore (chrism@uow.edu.au) or Daniel Lewis (djle@deakin.edu.au) for further information.
CFP Fairy Tale Sensibilities and their Sustainability (6/15/14; SAMLA 11/7-9/14)
Another expired call of interest:
Fairy Tale Sensibilities and their Sustainability
http://call-for-papers.sas.upenn.edu/node/57084
full name / name of organization:
SAMLA 86 Nov 7-9 2014 Atlanta GA
contact email:
gdenton@ega.edu
Feminism’s theorists more and more have turned their focus on fairy tales’ socializing power, as fairy tales serve as repositories for cultural attitudes regarding gender, class, the environment, and the role of education. The very sustainability of these tales offers genealogical roots for sociohistorical examinations that allow a reconsideration of the tales’ textualities in relationship to cultural ideologies. Roland Barthes asserts that texts such as fairy tales are loaded with ideological values; thus, it is critical to fairy tale studies that we rescue important historical shifts in revised representations so that we have a multi-dimensional understanding of the complex relationship between fairy tales, women, popular culture, and national values.
The sustainability of these tales reflects how universal these tales are in representing humankind as well as how relevant they are in teaching people about their own humanity. However, it takes a multi-dimensional critical analysis of the tales’ complex and subversive ambiguities in order for us to recognize the relationship between Literature as a repository for cultural attitudes, history, and memory and Literature as a study for understanding humanity. Fables, fairy tales, and folk tales have the power to teach people lessons about human nature and about the darker side of humanity in such a way that these tales provide warnings against “evil” behavior. This panel will trace revisions in familiar tales and their literary archetypes and examine their shifting relationship to popular culture, national ideology, and social theories in such a way that we can answer two questions: What can Literature teach us about humanity, history, psychology, sociology, and/or the environment? How does it teach us about our roles in current humanism and civic humanism in a way that nothing else can? By June 15, 2014, please submit a 300-word abstract and A/V requirements to Ren Denton, East Georgia State College, gdenton@ega.edu.
By web submission at 06/04/2014 - 13:38
Fairy Tale Sensibilities and their Sustainability
http://call-for-papers.sas.upenn.edu/node/57084
full name / name of organization:
SAMLA 86 Nov 7-9 2014 Atlanta GA
contact email:
gdenton@ega.edu
Feminism’s theorists more and more have turned their focus on fairy tales’ socializing power, as fairy tales serve as repositories for cultural attitudes regarding gender, class, the environment, and the role of education. The very sustainability of these tales offers genealogical roots for sociohistorical examinations that allow a reconsideration of the tales’ textualities in relationship to cultural ideologies. Roland Barthes asserts that texts such as fairy tales are loaded with ideological values; thus, it is critical to fairy tale studies that we rescue important historical shifts in revised representations so that we have a multi-dimensional understanding of the complex relationship between fairy tales, women, popular culture, and national values.
The sustainability of these tales reflects how universal these tales are in representing humankind as well as how relevant they are in teaching people about their own humanity. However, it takes a multi-dimensional critical analysis of the tales’ complex and subversive ambiguities in order for us to recognize the relationship between Literature as a repository for cultural attitudes, history, and memory and Literature as a study for understanding humanity. Fables, fairy tales, and folk tales have the power to teach people lessons about human nature and about the darker side of humanity in such a way that these tales provide warnings against “evil” behavior. This panel will trace revisions in familiar tales and their literary archetypes and examine their shifting relationship to popular culture, national ideology, and social theories in such a way that we can answer two questions: What can Literature teach us about humanity, history, psychology, sociology, and/or the environment? How does it teach us about our roles in current humanism and civic humanism in a way that nothing else can? By June 15, 2014, please submit a 300-word abstract and A/V requirements to Ren Denton, East Georgia State College, gdenton@ega.edu.
By web submission at 06/04/2014 - 13:38
CFP Victorian Period in 21st-Century Children’s Literature (8/1/14)
[UPDATE] The Victorian Period in 21st-Century Children’s Literature: Representations & Revisions, Adaptations & Appropriations
full name / name of organization:
Sara K. Day and Sonya Sawyer Fritz
contact email:
Vic21Collection@gmail.com
This proposed volume seeks essays that analyze how twenty-first century texts for young audiences across a variety of media--including print, film, television, and digital formats--interact with Victorian literature and culture.
A significant aim of contemporary literature for young people is to provide a window into a variety of historical periods and cultural milieus. Such representations of the past have educational, creative, and political resonances, reflecting both on historical periods and contemporary values. However, since the turn of the twenty-first century, we seem to have reached a critical mass of works for children that engage the Victorian period in particular.
Perhaps the most visible form that this trend has taken is Neo-Victorianism, a literary and cultural phenomenon that has shaped contemporary fiction for children and young adults through the general prevalence and popularity of Neo-Victorian series such as the Enola Holmes novels and the Gemma Doyle trilogy. A recent special issue on the child in Neo-Victorian Studies also indicates that the critical discussion inspired by this genre has specific implications for studies of youth culture.
However, Victorian influences and impulses extend beyond works that can be categorized as Neo-Victorian. Historical fiction and timeslip fantasy set in the Victorian period interact with the past through placing the modern reader in the position of the nineteenth-century child, while steampunk fiction imagines alternate histories and technologies that emerge from the nexus of Victorian culture. Contemporary texts also engage Victorian fiction through adaptations and retellings: films such as Tim Burton’s Alice in Wonderland (2010) and Disney’s Treasure Planet (2002) reconfigure the iconic works of Lewis Carroll and Robert Louis Stevenson for a twenty-first century audience, as do intertextual retellings such as April Lindner’s Catherine and Cara Lockwood’s Wuthering High, both young adult novels that update and revise the narrative of Emily Bronte’s Wuthering Heights.
Critical questions that this volume seeks to address include but are not limited to the following: What do such works reveal about contemporary understandings or assumptions regarding Victorian values and sensibilities? What has made the Victorian era such a productive and inspiring space for so many authors and young audiences of the twenty-first century? What is lost and what might be gained by reframing a text for Victorian adults for a contemporary audience of young people?
Essay topics may include but are not limited to
We are currently seeking a book contract for this volume. Submit a 500-word abstract, along with a working bibliography and a brief, up-to-date CV by August 1, 2014 to Sara K. Day and Sonya Sawyer Fritz at Vic21Collection@gmail.com. Completed essays of 5000-7000 words will be due by March 1, 2015.
By web submission at 06/04/2014 - 17:06
full name / name of organization:
Sara K. Day and Sonya Sawyer Fritz
contact email:
Vic21Collection@gmail.com
This proposed volume seeks essays that analyze how twenty-first century texts for young audiences across a variety of media--including print, film, television, and digital formats--interact with Victorian literature and culture.
A significant aim of contemporary literature for young people is to provide a window into a variety of historical periods and cultural milieus. Such representations of the past have educational, creative, and political resonances, reflecting both on historical periods and contemporary values. However, since the turn of the twenty-first century, we seem to have reached a critical mass of works for children that engage the Victorian period in particular.
Perhaps the most visible form that this trend has taken is Neo-Victorianism, a literary and cultural phenomenon that has shaped contemporary fiction for children and young adults through the general prevalence and popularity of Neo-Victorian series such as the Enola Holmes novels and the Gemma Doyle trilogy. A recent special issue on the child in Neo-Victorian Studies also indicates that the critical discussion inspired by this genre has specific implications for studies of youth culture.
However, Victorian influences and impulses extend beyond works that can be categorized as Neo-Victorian. Historical fiction and timeslip fantasy set in the Victorian period interact with the past through placing the modern reader in the position of the nineteenth-century child, while steampunk fiction imagines alternate histories and technologies that emerge from the nexus of Victorian culture. Contemporary texts also engage Victorian fiction through adaptations and retellings: films such as Tim Burton’s Alice in Wonderland (2010) and Disney’s Treasure Planet (2002) reconfigure the iconic works of Lewis Carroll and Robert Louis Stevenson for a twenty-first century audience, as do intertextual retellings such as April Lindner’s Catherine and Cara Lockwood’s Wuthering High, both young adult novels that update and revise the narrative of Emily Bronte’s Wuthering Heights.
Critical questions that this volume seeks to address include but are not limited to the following: What do such works reveal about contemporary understandings or assumptions regarding Victorian values and sensibilities? What has made the Victorian era such a productive and inspiring space for so many authors and young audiences of the twenty-first century? What is lost and what might be gained by reframing a text for Victorian adults for a contemporary audience of young people?
Essay topics may include but are not limited to
- the Victorian text as intertext in contemporary literature
- Neo-Victorian literature
- steampunk fiction
- representations of the Victorian past in time-slip fantasy and/or ghost stories
- contemporary retellings of iconic Victorian stories
- the portrayal of the Victorian period in contemporary nonfiction
- film adaptations of Victorian literature
- representations of Victorian cultural icons (Queen Victoria, Charles Darwin, Jack the Ripper)
- Victorian sensibilities and aesthetics as influences on contemporary fiction
- historical fiction set in the Victorian period
We are currently seeking a book contract for this volume. Submit a 500-word abstract, along with a working bibliography and a brief, up-to-date CV by August 1, 2014 to Sara K. Day and Sonya Sawyer Fritz at Vic21Collection@gmail.com. Completed essays of 5000-7000 words will be due by March 1, 2015.
By web submission at 06/04/2014 - 17:06
CFP Steampunk Femininity (9/30/14; NeMLA Toronto 4/30-5/3/15)
NEMLA 2015 CFP Steampunk Femininity: Recasting the Angel in the House (Sept. 30 2014)
full name / name of organization:
Chamutal Noimann - BMCC City University of New York
contact email:
cnoimann@bmcc.cuny.edu
We seek proposals for an approved panel for the 2015 NEMLA conference in Toronto.
Through consistent creation of powerful female heroines the likes of which we have never seen in Victorian literature, Steampunk has emerged as a strong feminist voice that addresses contemporary and current discourses on femininity simultaneously and rethinks our ideas of Victorian gender roles. This panel seeks to examine how Steampunk Young Adult and graphic novels subvert Victorian patriarchy and Empire by creating an alternate past that reimagines them both. Please submit 300-word abstract and bio.
Area: British, Women’s and Gender Studies
Deadline for abstracts Sept. 30, 2014
Session ID: 15117
Session Format: Panel
Link to session submission: https://nemla.org/convention/2015/cfp.html#cfp15117
By web submission at 06/09/2014 - 13:24
full name / name of organization:
Chamutal Noimann - BMCC City University of New York
contact email:
cnoimann@bmcc.cuny.edu
We seek proposals for an approved panel for the 2015 NEMLA conference in Toronto.
Through consistent creation of powerful female heroines the likes of which we have never seen in Victorian literature, Steampunk has emerged as a strong feminist voice that addresses contemporary and current discourses on femininity simultaneously and rethinks our ideas of Victorian gender roles. This panel seeks to examine how Steampunk Young Adult and graphic novels subvert Victorian patriarchy and Empire by creating an alternate past that reimagines them both. Please submit 300-word abstract and bio.
Area: British, Women’s and Gender Studies
Deadline for abstracts Sept. 30, 2014
Session ID: 15117
Session Format: Panel
Link to session submission: https://nemla.org/convention/2015/cfp.html#cfp15117
By web submission at 06/09/2014 - 13:24
CFP Essays on Pop Culture (7/27/14)
From Popular Culture 101
http://popc101.blogspot.com/2014/04/call-for-essays-on-pop-culture.html
Call for Essays on Pop Culture
Please note new deadline of Sunday, 27 July 2014!
We are looking for a wide range of essays that fall under the vast umbrella of Popular Culture, past and present. These essays will be anthologized in an undergrad textbook for general education classes to develop critical thinking. Students will learn skills and strategies in studying cultures by reading well-written, dynamic treatments of pop culture.
Essays should be creative, exciting, and substantial; most of all they should be enjoyable.
A small sampling of possible topics might include The Carny Life • Blondie to Doonesbury to The Far Side • From Corsets to Spanx • Instagram, Selfies, and Sexting • Barbie vs. GI Joe • Project Runway and The Bachelorette • Tattoos, Piercings, and Scarifying • The Beatles, The Ramones, and The Black Kids • Pulp Fiction and Fight Club • Hula Hoops and Rubik's Cubes • and so on.
Essays should be clear and understandable to the layperson and should capture the interest of undergrad students.
Essays should be 2-4 pages or 500-1000 words, double spaced, 12 point Times. Include footnotes and source list, if needed, in an accepted style like MLA or APA.
Essays can be written by one author or by a group.
Essays should be original to the author(s) and should not appear in other publications.
Essays may be written ...
(1) from an academic perspective, or
(2) from a personal standpoint based on opinion and experience, or
(3) as an informative piece, or
(4) as a rhetorical analysis.
Authors may come, therefore, from academic, professional, and or amateur venues.
Author's name should be given as you wish to appear when published. Also include a bio of 50-75 words for each author.
Authors may each submit as many essays as they would like. (NEW)
Please submit essays by ...
(1) emailing a Word attachment to popprof1 (at) gmail (dot) com, or
(2) posting a Word file to our facebook group Popular Culture 101, or
(3) mailing a hard copy to
Kathleen A. Lawrence
Communication Studies
SUNY Cortland
Cortland, NY 13045
Deadline: Sunday, 27 July 2014 (NEW)
Important information that must be included with each essay:
Name (as you want your name to appear if selected)
Email and Mailing Address
Occupation and Field (for example, business or education)
Title (be as creative as you want)
Subject Category (for example, fads, media, children's toys, military, etc.)
Bio (50-75 words per author)
Relevance of topic to you (if not already clear in essay, this is optional)
Other relevant information (also optional)
http://popc101.blogspot.com/2014/04/call-for-essays-on-pop-culture.html
Call for Essays on Pop Culture
Please note new deadline of Sunday, 27 July 2014!
We are looking for a wide range of essays that fall under the vast umbrella of Popular Culture, past and present. These essays will be anthologized in an undergrad textbook for general education classes to develop critical thinking. Students will learn skills and strategies in studying cultures by reading well-written, dynamic treatments of pop culture.
Essays should be creative, exciting, and substantial; most of all they should be enjoyable.
A small sampling of possible topics might include The Carny Life • Blondie to Doonesbury to The Far Side • From Corsets to Spanx • Instagram, Selfies, and Sexting • Barbie vs. GI Joe • Project Runway and The Bachelorette • Tattoos, Piercings, and Scarifying • The Beatles, The Ramones, and The Black Kids • Pulp Fiction and Fight Club • Hula Hoops and Rubik's Cubes • and so on.
Essays should be clear and understandable to the layperson and should capture the interest of undergrad students.
Essays should be 2-4 pages or 500-1000 words, double spaced, 12 point Times. Include footnotes and source list, if needed, in an accepted style like MLA or APA.
Essays can be written by one author or by a group.
Essays should be original to the author(s) and should not appear in other publications.
Essays may be written ...
(1) from an academic perspective, or
(2) from a personal standpoint based on opinion and experience, or
(3) as an informative piece, or
(4) as a rhetorical analysis.
Authors may come, therefore, from academic, professional, and or amateur venues.
Author's name should be given as you wish to appear when published. Also include a bio of 50-75 words for each author.
Authors may each submit as many essays as they would like. (NEW)
Please submit essays by ...
(1) emailing a Word attachment to popprof1 (at) gmail (dot) com, or
(2) posting a Word file to our facebook group Popular Culture 101, or
(3) mailing a hard copy to
Kathleen A. Lawrence
Communication Studies
SUNY Cortland
Cortland, NY 13045
Deadline: Sunday, 27 July 2014 (NEW)
Important information that must be included with each essay:
Name (as you want your name to appear if selected)
Email and Mailing Address
Occupation and Field (for example, business or education)
Title (be as creative as you want)
Subject Category (for example, fads, media, children's toys, military, etc.)
Bio (50-75 words per author)
Relevance of topic to you (if not already clear in essay, this is optional)
Other relevant information (also optional)
CFP Endings (7/15/14; Grad Conference, New York 11/21/14)
Call for Papers: "Endings." Cultural Theory/Comp. Lit.
Location: New York, United States
Call for Papers Date: 2014-11-21
Date Submitted: 2014-07-01
Announcement ID: 214781
Call for Papers: 2014 Stony Brook CAT Department Graduate Conference
ENDINGS.
New York, NY
Stony Brook Manhattan
Friday, November 21, 2014
History is punctuated by endings: the end of shared certainties, the abandonment of shared practices, and death. Endings can be dramatic and spectacular: the imagined apocalypse brought about by nuclear war, global pandemic, zombie hordes, or the brimstone of God’s wrath. Similarly, we are surrounded by endings in our lives. Endings can be quiet and quotidian: films end, books end, seminars end. As scholars, these endings are not true endings, but beginnings, because endings are horizons of experience, process, and development, the organic or evolutionary transition to a new way of being. After the end is when we begin our work, for we can only respond after something has ended. We turn off the TV. We close the book. And we begin to write.
This is also true when the endings are not literal. In the same way that we can only begin to work after something ends, it is after the end that we discover new ways of speaking, creating, and being. We speak about post-modernism and post-colonialism and post-humanism, implying that what came before has ended and we have moved on. We theorize the end of the world. We explore both the negative horizon and the productive potential of endings. This is where we invite you to take up the conversation. The graduate students of the Cultural Analysis and Theory Department at Stony Brook University invite proposals for a 2014 conference around the theme of “endings.” What happens after the end? Are endings terrifying possibilities, or are they opportunities for growth?
Possible topics include (but are not limited to) discussions on:
Papers will be 20 minutes in length and will be delivered as a part of a three-person panel.
After all presenters, there will be 20 minutes for questions and discussion. Please submit abstracts to catgradconf@gmail.com by July 15th. Abstracts should be no more than 300 words and include four keywords. We also welcome panel proposals.
The conference will include panels with discussion, a keynote speaker, and a number of other events including an artist exhibition. It will be followed by a reception in the city (location TBA).
Jessica Harwick
Cultural Analysis and Theory
Stony Brook University
Email: catgradconf@gmail.com
Visit the website at http://catgradconference.wordpress.com/2014/06/25/call-for-papers-endings-conference-2014/
Location: New York, United States
Call for Papers Date: 2014-11-21
Date Submitted: 2014-07-01
Announcement ID: 214781
Call for Papers: 2014 Stony Brook CAT Department Graduate Conference
ENDINGS.
New York, NY
Stony Brook Manhattan
Friday, November 21, 2014
History is punctuated by endings: the end of shared certainties, the abandonment of shared practices, and death. Endings can be dramatic and spectacular: the imagined apocalypse brought about by nuclear war, global pandemic, zombie hordes, or the brimstone of God’s wrath. Similarly, we are surrounded by endings in our lives. Endings can be quiet and quotidian: films end, books end, seminars end. As scholars, these endings are not true endings, but beginnings, because endings are horizons of experience, process, and development, the organic or evolutionary transition to a new way of being. After the end is when we begin our work, for we can only respond after something has ended. We turn off the TV. We close the book. And we begin to write.
This is also true when the endings are not literal. In the same way that we can only begin to work after something ends, it is after the end that we discover new ways of speaking, creating, and being. We speak about post-modernism and post-colonialism and post-humanism, implying that what came before has ended and we have moved on. We theorize the end of the world. We explore both the negative horizon and the productive potential of endings. This is where we invite you to take up the conversation. The graduate students of the Cultural Analysis and Theory Department at Stony Brook University invite proposals for a 2014 conference around the theme of “endings.” What happens after the end? Are endings terrifying possibilities, or are they opportunities for growth?
Possible topics include (but are not limited to) discussions on:
- Literal endings (including the apocalypse or after)
- “Post” designations or the ending of a time period
- Literary forms and their endings
- The end of discurisve and/or epistemological forms
- Any other social and cultural phenomenon that emphasize the products and practices whose lives were cut short but nevertheless are historical moments constitutive of the present.
Papers will be 20 minutes in length and will be delivered as a part of a three-person panel.
After all presenters, there will be 20 minutes for questions and discussion. Please submit abstracts to catgradconf@gmail.com by July 15th. Abstracts should be no more than 300 words and include four keywords. We also welcome panel proposals.
The conference will include panels with discussion, a keynote speaker, and a number of other events including an artist exhibition. It will be followed by a reception in the city (location TBA).
Jessica Harwick
Cultural Analysis and Theory
Stony Brook University
Email: catgradconf@gmail.com
Visit the website at http://catgradconference.wordpress.com/2014/06/25/call-for-papers-endings-conference-2014/
CFP Charles Beaumont’s Literary and Cultural Legacy (10/15/14)
New Essays on Charles Beaumont’s Literary and Cultural Legacy
Call for Papers Date: 2014-10-15
Date Submitted: 2014-07-02
Announcement ID: 214806
The editors invite original scholarly essays that address all facets of the writing of Charles Beaumont (nee Charles McNutt).
Beaumont is today perhaps best remembered for his screenplays for the original Twilight Zone series; however, he was a prolific writer who worked in a wide variety of forms and genres, producing a large and variegated body of writing over the course of his tragically curtailed literary career. Despite Beaumont’s attested influence on many more widely known 20th century literary icons (including Harlan Ellison, Richard Matheson and Ray Bradbury) and the impact many of his fictions and screenplays have had on American literary, televisual and cinematic culture, there has thus far been little serious and concerted scholarly attention to his vital body of work. This lack has been decried by many of Beaumont’s admirers over the years, and led Bernice M. Murphy, in her introduction to the recently published selection of Beaumont’s short fiction, The Hunger and Other Stories, to express the urgent need for “a critical reappraisal of [Beaumont’s] literary legacy.” This collection will be an important contribution to this task, and will gather a variety of critical approaches together in exploring and evaluating Beaumont’s achievements and influence.
The editors seek to round out the collection by gathering scholarly work that draws from various critical paradigms and focuses on diverse aspects of Beaumont’s work.
Topics might include, but are not limited to, the following:
Abstracts should be 300-400 words in length, should include a brief biographical statement (moreland.sean@gmail.com and murray.leeder@nucleus.com by no later than Oct 15, 2014. Please include “Charles Beaumont Abstract Submission” in your subject line. The editors expect that the length of completed essays should be in the 5000-7000 word range.
ABOUT THE EDITORS
Murray Leeder is the author of Halloween (Auteur, 2014) and is currently editing Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (Bloomsbury, 2015). His articles have appeared in such scholarly collections as Dracula’s Daughters: The Female Vampire in Film, The Vampire Goes to College: Essays on Teaching the Undead, Images of the Modern Vampire: The Hip and the Atavistic and Beyond the Screen: Institutions, Networks, and Publics of Early Cinema and such journals as Horror Studies, The Journal of Popular Culture, The Journal of Popular Film and Television, The Canadian Journal of Film Studies, Clues: A Journal of Detection, Popular Music and Society and Early Popular Visual Culture. As of July 2014, he is a research affiliate at the Institute for the Humanities, University of Manitoba.
Sean Moreland’s essays have appeared in a number of scholarly collections, including Terrors of the Soul: Essays on Canadian Horror Film, Hitchcock’s Children, Deciphering Poe and A History of Evil in American Popular Culture, and his poetry and short fiction has appeared in a variety of venues including The Malahat Review, Lackington’s, Despumation, and online at bywords.ca, ditch and Bone Orchard. He co-edited the essay collection Fear and Learning: Essays on the Pedagogy of Horror (McFarland, 2013), is currently co-editing Essays on Cinema’s Monstrous Children (McFarland, early 2015) and is editing The Lovecraftian Poe: Essays on Influence, Reception and Transformation. He is founder and a fiction editor of the journal of uncanny fiction and art Postscripts to Darkness (www.pstdarkness.com) and he teaches English at the University of Ottawa.
moreland.sean@gmail.com and murray.leeder@nucleus.com
Email: murray.leeder@nucleus.com
Call for Papers Date: 2014-10-15
Date Submitted: 2014-07-02
Announcement ID: 214806
The editors invite original scholarly essays that address all facets of the writing of Charles Beaumont (nee Charles McNutt).
Beaumont is today perhaps best remembered for his screenplays for the original Twilight Zone series; however, he was a prolific writer who worked in a wide variety of forms and genres, producing a large and variegated body of writing over the course of his tragically curtailed literary career. Despite Beaumont’s attested influence on many more widely known 20th century literary icons (including Harlan Ellison, Richard Matheson and Ray Bradbury) and the impact many of his fictions and screenplays have had on American literary, televisual and cinematic culture, there has thus far been little serious and concerted scholarly attention to his vital body of work. This lack has been decried by many of Beaumont’s admirers over the years, and led Bernice M. Murphy, in her introduction to the recently published selection of Beaumont’s short fiction, The Hunger and Other Stories, to express the urgent need for “a critical reappraisal of [Beaumont’s] literary legacy.” This collection will be an important contribution to this task, and will gather a variety of critical approaches together in exploring and evaluating Beaumont’s achievements and influence.
The editors seek to round out the collection by gathering scholarly work that draws from various critical paradigms and focuses on diverse aspects of Beaumont’s work.
Topics might include, but are not limited to, the following:
- The relationship between Beaumont’s literary fictions and his cinematic and televisual writing.
- The novel, screenplay, and film versions of The Intruder, and its engagement with both contemporaneous and current aspects of the civil rights movement in American history.
- Application of contemporary adaptation theory to Beaumont’s screen adaptations (both of him, and by him.)
- Beaumont’s relationship with weird fiction, his inclusion in the canon of The Weird, and the parallels between his weird fictions and those of his predecessors, contemporaries, and descendants.
- Critical considerations of Beaumont’s relationship with his major literary influences, with his literary peers, and with those writers who have been influenced by his work.
- The importance of the literary marketplace to Beaumont’s fictions and career.
- Beaumont’s aesthetics and literary philosophy.
- The sexual politics of Beaumont’s fictions.
- Queer (re)considerations of key Beaumont’s work (for example, “The Crooked Man” and “Miss Gentibelle”) and the relationship between his fictions and the early stirrings of the gay rights movement.
Abstracts should be 300-400 words in length, should include a brief biographical statement (moreland.sean@gmail.com and murray.leeder@nucleus.com by no later than Oct 15, 2014. Please include “Charles Beaumont Abstract Submission” in your subject line. The editors expect that the length of completed essays should be in the 5000-7000 word range.
ABOUT THE EDITORS
Murray Leeder is the author of Halloween (Auteur, 2014) and is currently editing Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (Bloomsbury, 2015). His articles have appeared in such scholarly collections as Dracula’s Daughters: The Female Vampire in Film, The Vampire Goes to College: Essays on Teaching the Undead, Images of the Modern Vampire: The Hip and the Atavistic and Beyond the Screen: Institutions, Networks, and Publics of Early Cinema and such journals as Horror Studies, The Journal of Popular Culture, The Journal of Popular Film and Television, The Canadian Journal of Film Studies, Clues: A Journal of Detection, Popular Music and Society and Early Popular Visual Culture. As of July 2014, he is a research affiliate at the Institute for the Humanities, University of Manitoba.
Sean Moreland’s essays have appeared in a number of scholarly collections, including Terrors of the Soul: Essays on Canadian Horror Film, Hitchcock’s Children, Deciphering Poe and A History of Evil in American Popular Culture, and his poetry and short fiction has appeared in a variety of venues including The Malahat Review, Lackington’s, Despumation, and online at bywords.ca, ditch and Bone Orchard. He co-edited the essay collection Fear and Learning: Essays on the Pedagogy of Horror (McFarland, 2013), is currently co-editing Essays on Cinema’s Monstrous Children (McFarland, early 2015) and is editing The Lovecraftian Poe: Essays on Influence, Reception and Transformation. He is founder and a fiction editor of the journal of uncanny fiction and art Postscripts to Darkness (www.pstdarkness.com) and he teaches English at the University of Ottawa.
moreland.sean@gmail.com and murray.leeder@nucleus.com
Email: murray.leeder@nucleus.com
CFP Screening the Non/human: Animals Representations in Visual Media (6/30/14)
Another call (slightly expired) of potential interest:
CFP - Screening the Non/human: Animals Representations in Visual Media
Call for Papers Date: 2014-06-30
Date Submitted: 2014-04-26
Announcement ID: 213297
Screening the Non/human: Animals Representations in Visual Media
Non/human animals are consistently represented in film, television, and advertising as a means of entertainment in a diversity of ways that often overlook the oppressive dynamics that impede a politics of animal liberation. Certainly, mass media is a powerful force in our everyday lives because it both reflects and creates our culture. We are constantly bombarded with messages from a variety of sources that promote not only products we ought to buy, but also the attitudes that inform us what is and what is not, important. It follows that should a culture depict nonhuman animals as unimportant, then non/human animals are treated accordingly. While opinions may vary as to the influence that media has on nonhuman animals, most will agree that media has become a permanent part of our culture, and should be examined in more depth.
Whether it be Ms. Piggy selling bacon for Denny’s, the latest Disney film, or the rampant abuse of animals in the filming of The Hobbit, the non/human is an ever-present part of media representation that often goes unacknowledged by academic writing. This book seeks to fill that gap in research so as to seriously address the question of non/humans within visual media as a mode of representation and lived politics. In short, this book seeks to address the question on the role mass media plays with respects to non/human animals.
We are seeking chapters that explore the following avenues of interests:
At this time we are not seeking chapters concerning animal representations in literature, art, or poetry. However, our list is non-exhaustive and we are open to submissions that take on new approaches that would be useful in understanding how animals are (ab)used on the screen. This project is designed to become part of the Institute of Critical Animal Studies’ Lexington Book Series.
If interested, please submit a 300-500 word abstract as well as a 150 word bio to Dr. JL Schatz (debate@binghamton.edu) and Dr. Amber George (drambergeorge@gmail.com) by June 30th, 2014. Expected date for finished papers will be September 30th, 2014. If you have questions concerning content of submissions, the nature of Critical Animal Studies, or anything else in relation to this project please don’t hesitate to contact us.
Dr. JL Schatz (debate@binghamton.edu) and Dr. Amber George (drambergeorge@gmail.com)
CFP - Screening the Non/human: Animals Representations in Visual Media
Call for Papers Date: 2014-06-30
Date Submitted: 2014-04-26
Announcement ID: 213297
Screening the Non/human: Animals Representations in Visual Media
Non/human animals are consistently represented in film, television, and advertising as a means of entertainment in a diversity of ways that often overlook the oppressive dynamics that impede a politics of animal liberation. Certainly, mass media is a powerful force in our everyday lives because it both reflects and creates our culture. We are constantly bombarded with messages from a variety of sources that promote not only products we ought to buy, but also the attitudes that inform us what is and what is not, important. It follows that should a culture depict nonhuman animals as unimportant, then non/human animals are treated accordingly. While opinions may vary as to the influence that media has on nonhuman animals, most will agree that media has become a permanent part of our culture, and should be examined in more depth.
Whether it be Ms. Piggy selling bacon for Denny’s, the latest Disney film, or the rampant abuse of animals in the filming of The Hobbit, the non/human is an ever-present part of media representation that often goes unacknowledged by academic writing. This book seeks to fill that gap in research so as to seriously address the question of non/humans within visual media as a mode of representation and lived politics. In short, this book seeks to address the question on the role mass media plays with respects to non/human animals.
We are seeking chapters that explore the following avenues of interests:
- Animal abuse within television, film, and advertising
- Speciesism as a lens of analysis for media studies
- Representations of animals within children’s movies and television
- Animals as metaphors
- Animals as educational programming (like discovery channel, animal planet, ect.)
- Animals as sports programming (horse/dog racing, championship dog/cat shows, hunting, etc.)
- Animal representations on social media (youtube, facebook, etc.)
- Poststructuralist readings of non/humans within the media
- Marxist interpretations of animals within the media
- Intersectional analysis concerning race, gender, sexuality, disability, and colonialism
- Liberatory interpretations of media that situate alternatives to problematic modes of representations
- Criticisms of animal welfare in advertisements by animal rights organizations
- Comparative analysis between American and international representations of the non/human
- Legal analysis of laws serving to protect animals being used in the media
At this time we are not seeking chapters concerning animal representations in literature, art, or poetry. However, our list is non-exhaustive and we are open to submissions that take on new approaches that would be useful in understanding how animals are (ab)used on the screen. This project is designed to become part of the Institute of Critical Animal Studies’ Lexington Book Series.
If interested, please submit a 300-500 word abstract as well as a 150 word bio to Dr. JL Schatz (debate@binghamton.edu) and Dr. Amber George (drambergeorge@gmail.com) by June 30th, 2014. Expected date for finished papers will be September 30th, 2014. If you have questions concerning content of submissions, the nature of Critical Animal Studies, or anything else in relation to this project please don’t hesitate to contact us.
Dr. JL Schatz (debate@binghamton.edu) and Dr. Amber George (drambergeorge@gmail.com)
CFP Music for New Frontiers: Re-Locating the Sounds of the Western (1/10/15)
An interesting idea for a collection:
Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)/abstracts due 2015-1-10
Publication Date: 2015-01-10
Date Submitted: 2014-07-08
Announcement ID: 214937
Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)
We all know the sound of the “classic” movie Western, and what it signifies: a sense of the bravura and heroics associated with the genre illustrated through clean-cut good guys and shifty-eyed bad guys, a rustic landscape, showdowns and brawls. In a 2014 television commercial for Nissan, two men display their car keys with a knowing look: who will win this horserace? In another, two women don cowboy hats to compete for a pair of fashionable shoes on display between them. Similarly, a commercial for the weedkiller “Roundup,” features narration in a rhythmic patter reminiscent of the song “Ringo,” while a chorus of men sing in the background and we hear a single crack of a whip, evoking the classic scores of Dmitri Tiomkin. All of these commercials feature a stylized music that we recognize from classic Westerns: open chords, simple harmonies, long melodies reminiscent of folk tunes, and the changes to those sounds brought about by the “Spaghetti” Westerns of the 1960s: percussion mimicking the sounds of the mythological American West with its jingling spurs, bird calls, and galloping hooves. Advertising companies know that we will respond positively (whether male or female) to the music that transports us to another time (and place?) when we stood up to competition, whether another person or a weed.
Westerns, and their scores, full of iconic motifs, timbres, and harmonies, have always helped us to interpret our past and our present, deal with political and social issues, and delineate the moral behavior of the various bad guys and good guys of the periods depicted. Whether in print, on the stage, or on the screen, the genre is unique and thus inspires a particularly unique soundtrack. This soundtrack changed when the Western was transplanted to Italy, but music for the Western by both American and non-American composers has endured and has been interpreted to new environments for a variety of reasons.
So what happens when that soundtrack is transposed to other settings? Recent films, anime, television shows, stage productions, and video games, including Quentin Tarantino’s 2012 Django Unchained, 2013’s The Lone Ranger, anime’s GunXSword, the 2012 Doctor Who episode “A Town Called Mercy,” and the recent Half-Life spinoff Fistful of Frags have embraced the Western aesthetic in their settings, costuming, plots, and music. While some of these productions use the American “old west” as audiences know it from Gunsmoke and High Noon, more of them explore locations and scenarios far from these traditional renderings. Even Bruce Springsteen has used the main title theme from The Magnificent Seven as his intro music at live shows, positioning him as essentially American.
This collection seeks to locate and relocate the Western and its soundtrack in recent media. Possible topics include music and the intersections of works that both reference the traditional Western and stand apart from it:
…In other words, places where you wouldn’t normally expect to hear “Western” music, but where it is used nonetheless as a recognizable musical signifier.
Please submit abstracts of 500 words by January 10, 2015 in .doc(x), .rtf. or .odt form to both Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com). For accepted abstracts, full essays of 5,000-8,000 words will be due September 1, 2015.
Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com)
Email: kendraprestonleonard@gmail.com
Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)/abstracts due 2015-1-10
Publication Date: 2015-01-10
Date Submitted: 2014-07-08
Announcement ID: 214937
Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)
We all know the sound of the “classic” movie Western, and what it signifies: a sense of the bravura and heroics associated with the genre illustrated through clean-cut good guys and shifty-eyed bad guys, a rustic landscape, showdowns and brawls. In a 2014 television commercial for Nissan, two men display their car keys with a knowing look: who will win this horserace? In another, two women don cowboy hats to compete for a pair of fashionable shoes on display between them. Similarly, a commercial for the weedkiller “Roundup,” features narration in a rhythmic patter reminiscent of the song “Ringo,” while a chorus of men sing in the background and we hear a single crack of a whip, evoking the classic scores of Dmitri Tiomkin. All of these commercials feature a stylized music that we recognize from classic Westerns: open chords, simple harmonies, long melodies reminiscent of folk tunes, and the changes to those sounds brought about by the “Spaghetti” Westerns of the 1960s: percussion mimicking the sounds of the mythological American West with its jingling spurs, bird calls, and galloping hooves. Advertising companies know that we will respond positively (whether male or female) to the music that transports us to another time (and place?) when we stood up to competition, whether another person or a weed.
Westerns, and their scores, full of iconic motifs, timbres, and harmonies, have always helped us to interpret our past and our present, deal with political and social issues, and delineate the moral behavior of the various bad guys and good guys of the periods depicted. Whether in print, on the stage, or on the screen, the genre is unique and thus inspires a particularly unique soundtrack. This soundtrack changed when the Western was transplanted to Italy, but music for the Western by both American and non-American composers has endured and has been interpreted to new environments for a variety of reasons.
So what happens when that soundtrack is transposed to other settings? Recent films, anime, television shows, stage productions, and video games, including Quentin Tarantino’s 2012 Django Unchained, 2013’s The Lone Ranger, anime’s GunXSword, the 2012 Doctor Who episode “A Town Called Mercy,” and the recent Half-Life spinoff Fistful of Frags have embraced the Western aesthetic in their settings, costuming, plots, and music. While some of these productions use the American “old west” as audiences know it from Gunsmoke and High Noon, more of them explore locations and scenarios far from these traditional renderings. Even Bruce Springsteen has used the main title theme from The Magnificent Seven as his intro music at live shows, positioning him as essentially American.
This collection seeks to locate and relocate the Western and its soundtrack in recent media. Possible topics include music and the intersections of works that both reference the traditional Western and stand apart from it:
- Westerns set outside of the United States, including Japan, Australia, and Osterns from the Soviet bloc
- Space or Supernatural Westerns
- Anime
- Video games
- TV shows and series in non-Western settings
- Operas (aside from “La Fanciulla del West”)
- Popular musics, including sampling and mashups
- Sports
- Commercials
- Radio programs
- Shakespeare and classical literature
- Stage productions, including both plays and musicals
- Other non-Western literature
…In other words, places where you wouldn’t normally expect to hear “Western” music, but where it is used nonetheless as a recognizable musical signifier.
Please submit abstracts of 500 words by January 10, 2015 in .doc(x), .rtf. or .odt form to both Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com). For accepted abstracts, full essays of 5,000-8,000 words will be due September 1, 2015.
Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com)
Email: kendraprestonleonard@gmail.com
CFP Hannibal Lecter and Philosophy (8/1/14)
Of potential interest:
CFA Hannibal Lecter and Philosophy
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-07-14
Announcement ID: 215065
Hannibal Lecter and Philosophy
Joseph Westfall, Editor
Abstracts are sought for a collection of philosophical essays related to Dr. Hannibal Lecter, the fictional psychiatrist and cannibalistic serial killer at the heart of four novels, five films, and a critically acclaimed television drama. The volume will be published by Open Court Publishing (the publisher of Star Trek and Philosophy, Dexter and Philosophy, The Walking Dead and Philosophy, etc.) as a volume in its successful Popular Culture and Philosophy series. Potential contributors are welcome to submit abstracts on any topic related to the Hannibal Lecter novels by Thomas Harris (Red Dragon; The Silence of the Lambs; Hannibal; Hannibal Rising), the five film adaptations of those novels (Manhunter; The Silence of the Lambs; Hannibal; Red Dragon; Hannibal Rising), or Bryan Fuller’s series on NBC, Hannibal, but a list of topics of interest to the editor is provided, below. To ensure quality, author submissions will be provisionally accepted based on their abstract, but final acceptance will occur only after a completed draft of the chapter is submitted.
Topics may include:
Potential contributors are encouraged to write creative, fun, philosophical essays inspired by or about the various depictions of Dr. Lecter. Essays must be written in an accessible, jargon-free style for general, non-academic readers. Potential contributors are also encouraged to examine other books in the Popular Culture and Philosophy Series while developing their ideas.
Contributor Guidelines:
A brief abstract (200-500 words)
Author’s/Co-authors’ CV(s)/resume(s)
Abstracts due: August 1, 2014
Notification of acceptance of abstracts: August 15, 2014
First drafts of paper due: December 1, 2014
Abstracts and CVs/resumes must be submitted via e-mail to: hanniballecterandphilosophy@gmail.com
Please post this CFA or forward to anyone writing or working in fields closely related to philosophy who might be interested in contributing.
Joseph Westfall
Email: hanniballecterandphilosophy@gmail.com
CFA Hannibal Lecter and Philosophy
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-07-14
Announcement ID: 215065
Hannibal Lecter and Philosophy
Joseph Westfall, Editor
Abstracts are sought for a collection of philosophical essays related to Dr. Hannibal Lecter, the fictional psychiatrist and cannibalistic serial killer at the heart of four novels, five films, and a critically acclaimed television drama. The volume will be published by Open Court Publishing (the publisher of Star Trek and Philosophy, Dexter and Philosophy, The Walking Dead and Philosophy, etc.) as a volume in its successful Popular Culture and Philosophy series. Potential contributors are welcome to submit abstracts on any topic related to the Hannibal Lecter novels by Thomas Harris (Red Dragon; The Silence of the Lambs; Hannibal; Hannibal Rising), the five film adaptations of those novels (Manhunter; The Silence of the Lambs; Hannibal; Red Dragon; Hannibal Rising), or Bryan Fuller’s series on NBC, Hannibal, but a list of topics of interest to the editor is provided, below. To ensure quality, author submissions will be provisionally accepted based on their abstract, but final acceptance will occur only after a completed draft of the chapter is submitted.
Topics may include:
- Eat the Rude: Ethics and Etiquette for Hannibal Lecter
- You Are Who You Eat: Food Ethics and Cannibalism
- Sanity and Madness: Is There a Difference between Lecter and Will Graham?
- We Are All Nietzschean Fish: Overcoming and Renewal for Hannibal and Will
- Pathologizing Evil in Hannibal Rising: Is Dr. Lecter Evil, or Just Very, Very Sick?
- The Evil Genius: Why Doesn’t Hannibal Know Better?
- The Nature of the Beast: The Human as Animal in the Lecter Novels/Films
- Another Dinner Party: Hannibal Lecter as Metaphor (and Indictment) of High Society
- Neither Savage Nor Wise: The Role of Psychopathy in Modern Society
- I Am the Dragon: Serial Killers and Self-Transformation in the Lecter Novels/Films
- First Principles, Clarice: Marcus Aurelius, Philosophical Inquiry, and Criminal Investigation
Potential contributors are encouraged to write creative, fun, philosophical essays inspired by or about the various depictions of Dr. Lecter. Essays must be written in an accessible, jargon-free style for general, non-academic readers. Potential contributors are also encouraged to examine other books in the Popular Culture and Philosophy Series while developing their ideas.
Contributor Guidelines:
A brief abstract (200-500 words)
Author’s/Co-authors’ CV(s)/resume(s)
Abstracts due: August 1, 2014
Notification of acceptance of abstracts: August 15, 2014
First drafts of paper due: December 1, 2014
Abstracts and CVs/resumes must be submitted via e-mail to: hanniballecterandphilosophy@gmail.com
Please post this CFA or forward to anyone writing or working in fields closely related to philosophy who might be interested in contributing.
Joseph Westfall
Email: hanniballecterandphilosophy@gmail.com
CFP The 1970s (Spec. Issue of Women's Studies Quarterly) (8/1/14)
The 1970s: WSQ (Special Issue)
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-06-19
Announcement ID: 214568
Call for Papers, Poetry, and Prose
WSQ Special Issue Fall 2015: The 1970s
Guest Editors: Shelly Eversley and Michelle Habell-Pallán
The 1970s was a revolutionary moment for women. It transformed the very notion of female power regarding their bodies, their pleasure, and their work. In addition, women’s activisms in the decade shaped new paradigms for thinking about race, sexuality, reproductive rights, labor, colonialism, technology and the environment. Inaugural moments in film, music, television, sports, visual arts, and computing remain crucial landmarks in debates and interventions concerning pornography, sex work, sound studies, digital feminism, legal theory, and religion.
The decade witnessed congressional passage of the Equal Rights Amendment (1972), with ratification by 35 states by 1977—just 3 states shy of a formal change to the US Constitution. The rise of oral contraception, the landmark Supreme Court decision, Roe v. Wade (1973), and the publications of books such as The Joy of Sex (1972) and Our Bodies, Ourselves (1973), as well as activisms around domestic violence and rape offered new, practical and theoretical models of female empowerment. Activists, writers, and scholars such as Bella Abzug, Angela Davis, Nawal El-Saadawi, Audre Lorde, Robin Morgan, Kate Millet, Gayle Rubin, Gloria Steinem, and Michele Wallace created new epistemologies of gender, sex, race, class, and politics.
Popular culture changed as well: Billie Jean King defeated Bobby Riggs in the “battle of the sexes;” Donna Summer helped launch disco music; television saw new female characters such as Wonder Woman (1975-79) and The Bionic Woman (1976-78), both imagining women in relation to new technologies of science and communications; new film production code inspired innovation and controversy (e.g., Deep Throat (1972) and Cleopatra Jones (1973)); and Spanish language commercial media in the U.S. also began to take hold.
Feminist grassroots culture blossomed, taking cues from activists, writers, and scholars. Women took the reigns of emerging technologies and developed projects that provided platforms for feminist and queer voices in the form of Olivia Records and the development of community radio networks. Independent feminist journals such as Third Woman Press emerged to publish Chicana and Latina feminist writings. Art collectives like Mujeres Muralistas pushed the flourishing of public murals in the Mission District, throughout the Bay Area, and nationally. Changes in immigration policy prompted Teatro Chicana to bring immigration and gender issues to the foreground. In major cities, women—including women of color—played key roles in the development of punk and hip hop, as these scenes responded to the material realities of global economic restructuring. The conservative response to this era of transition and change also inspired the “New Right,” which left lingering effects.
The social and cultural agendas developed in 1970s continue to haunt and inspire. This special issue of WSQ invites scholars, artists, and activists to reflect on the decade’s broad ranging accomplishments, its unfinished agendas, and its influence on the contemporary moment.
Topics we are interested in exploring include, but are not limited to:
Please send abstracts, inquiries, and essays to Shelly Eversley and Michelle Habell-Pallán at WSQ1970sissue@gmail.com. We will give priority consideration to abstracts submitted by August 1, 2014. Final essays and essay submissions are due on October 2, 2014. Final submissions should not exceed 6,360 words (including un-embedded notes and works cited) and should comply with the formatting guidelines at http://www.feministpress.org/wsq/submission-guidelines.
Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at WSQpoetry@gmail.com by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting poems. Please note that poetry submissions may be held for six months or longer. Simultaneous submissions are acceptable if the poetry editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please paste poetry submissions into the body of the e-mail along with all contact information.
Fiction, essay, and memoir submissions should be sent to WSQ's fiction/nonfiction editor, Asali Solomon, at WSQCreativeProse@gmail.com by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting prose. Please note that prose submissions may be held for six months or longer. Simultaneous submissions are acceptable if the prose editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please provide all contact information in the body of the e-mail.
Shelly Eversley
Michelle Habell Pallan
WSQ (Women's Studies Quarterly)
Email: wsq1970sissue@gmail.com
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-06-19
Announcement ID: 214568
Call for Papers, Poetry, and Prose
WSQ Special Issue Fall 2015: The 1970s
Guest Editors: Shelly Eversley and Michelle Habell-Pallán
The 1970s was a revolutionary moment for women. It transformed the very notion of female power regarding their bodies, their pleasure, and their work. In addition, women’s activisms in the decade shaped new paradigms for thinking about race, sexuality, reproductive rights, labor, colonialism, technology and the environment. Inaugural moments in film, music, television, sports, visual arts, and computing remain crucial landmarks in debates and interventions concerning pornography, sex work, sound studies, digital feminism, legal theory, and religion.
The decade witnessed congressional passage of the Equal Rights Amendment (1972), with ratification by 35 states by 1977—just 3 states shy of a formal change to the US Constitution. The rise of oral contraception, the landmark Supreme Court decision, Roe v. Wade (1973), and the publications of books such as The Joy of Sex (1972) and Our Bodies, Ourselves (1973), as well as activisms around domestic violence and rape offered new, practical and theoretical models of female empowerment. Activists, writers, and scholars such as Bella Abzug, Angela Davis, Nawal El-Saadawi, Audre Lorde, Robin Morgan, Kate Millet, Gayle Rubin, Gloria Steinem, and Michele Wallace created new epistemologies of gender, sex, race, class, and politics.
Popular culture changed as well: Billie Jean King defeated Bobby Riggs in the “battle of the sexes;” Donna Summer helped launch disco music; television saw new female characters such as Wonder Woman (1975-79) and The Bionic Woman (1976-78), both imagining women in relation to new technologies of science and communications; new film production code inspired innovation and controversy (e.g., Deep Throat (1972) and Cleopatra Jones (1973)); and Spanish language commercial media in the U.S. also began to take hold.
Feminist grassroots culture blossomed, taking cues from activists, writers, and scholars. Women took the reigns of emerging technologies and developed projects that provided platforms for feminist and queer voices in the form of Olivia Records and the development of community radio networks. Independent feminist journals such as Third Woman Press emerged to publish Chicana and Latina feminist writings. Art collectives like Mujeres Muralistas pushed the flourishing of public murals in the Mission District, throughout the Bay Area, and nationally. Changes in immigration policy prompted Teatro Chicana to bring immigration and gender issues to the foreground. In major cities, women—including women of color—played key roles in the development of punk and hip hop, as these scenes responded to the material realities of global economic restructuring. The conservative response to this era of transition and change also inspired the “New Right,” which left lingering effects.
The social and cultural agendas developed in 1970s continue to haunt and inspire. This special issue of WSQ invites scholars, artists, and activists to reflect on the decade’s broad ranging accomplishments, its unfinished agendas, and its influence on the contemporary moment.
Topics we are interested in exploring include, but are not limited to:
- reproductive politics, and/or activisms around ERA
- feminist avant-gardes, including visual and performance art
- sex, sexuality (e.g., female orgasm, The Joy of Sex, Our Bodies, Ourselves)
- oppositional music scenes such as punk, fandango, hip hop, and salsa
- global feminisms
- lesbian and gay activisms
- feminist development of community radio networks, music labels, and music engineers
- ecofeminism
- feminist presses
- Women of color/Chicana/Latina/Native/Asian women’s collectives
- popular culture, television, and film
- Wonder Woman, The Bionic Woman as cyborg
- biopolitics of gender and race
- women, race, and computer and scientific technologies
- pornography (e.g., Deep Throat, Lialiah)
- feminism and the law, legal theory
- pre-histories of digital feminism
- Black Power, Black Aesthetics
- Spanish language popular culture and film
Please send abstracts, inquiries, and essays to Shelly Eversley and Michelle Habell-Pallán at WSQ1970sissue@gmail.com. We will give priority consideration to abstracts submitted by August 1, 2014. Final essays and essay submissions are due on October 2, 2014. Final submissions should not exceed 6,360 words (including un-embedded notes and works cited) and should comply with the formatting guidelines at http://www.feministpress.org/wsq/submission-guidelines.
Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at WSQpoetry@gmail.com by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting poems. Please note that poetry submissions may be held for six months or longer. Simultaneous submissions are acceptable if the poetry editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please paste poetry submissions into the body of the e-mail along with all contact information.
Fiction, essay, and memoir submissions should be sent to WSQ's fiction/nonfiction editor, Asali Solomon, at WSQCreativeProse@gmail.com by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting prose. Please note that prose submissions may be held for six months or longer. Simultaneous submissions are acceptable if the prose editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please provide all contact information in the body of the e-mail.
Shelly Eversley
Michelle Habell Pallan
WSQ (Women's Studies Quarterly)
Email: wsq1970sissue@gmail.com
CFP Analyzing the 1950s: Media, Politics, Culture Conference (8/1/14; Texas 11/15/14)
Analyzing the 1950s: Media, Politics, Culture Conference (November 15, 2014; Proposals due August 1, 2014)
Location: Texas, United States
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-05-12
Announcement ID: 213705
We invite presentation proposals for the daylong Analyzing the 1950s: Media, Politics, Culture Conference, to be held at Texas Christian University (Fort Worth, Texas) on Saturday, November 15, 2014.
The conference organizers are seeking historically and theoretically intriguing presentations that explore any noteworthy aspect(s) of media, politics, and/or culture during the 1950s, whether in the United States or elsewhere. This daylong conference promises to provide an intellectually stimulating investigation into the complex phenomenon that was “The Fifties.” Accordingly, participants are encouraged to interpret the conference theme quite broadly and innovatively.
Possible topics may include (but are certainly not limited to) advertising strategies, the atomic age, Beat writers, changing traditions and value structures, CinemaScope, cold war culture, containment strategies, desegregation, Elvis Presley, ethnic sitcoms, films noir, juvenile delinquency, Levittowns, Lucille Ball, McCarthyism, men in gray flannel suits, mid-century icons and stars, normative gender roles and expectations, the nuclear family, science fiction movies, technological innovation, television’s early years, variety shows, UFO scares, and saying what couldn’t be said.
We encourage submissions from scholars, educators, students, and filmmakers/videographers at all levels, and from disciplines including art, communication, cultural studies, film and video studies, history, journalism, LGBT studies, literature, media studies, music, political science, popular culture, sociology, television studies, and women’s studies, among others.
Individual paper presentations will be limited to 20 minutes in length. We also invite submissions of relevant media offerings (of any length, in DVD format) for screening and discussion at the conference.
Given adequate participant interest and high-quality submissions, we are hoping to publish selected papers (with author’s permission) in a special collection of essays pertaining to the conference theme.
Please e-mail presentation proposals containing (a) a one-page abstract with complete contact information (name, institutional affiliation, mail and e-mail addresses, contact telephone number) and (b) a one-paragraph author biography to Professor Kylo-Patrick Hart (k.hart@tcu.edu) on or before Friday, August 1, 2014.
Decisions regarding the status of submitted proposals will be made and communicated as quickly as possible following the submission deadline, and certainly no later than August 15, 2014. For specific inquiries prior to submitting a proposal, please contact Dr. Hart at your convenience by e-mail (k.hart@tcu.edu).
Kylo-Patrick R. Hart, Ph.D.
Department of Film, Television and Digital Media
Texas Christian University
Email: k.hart@tcu.edu
Location: Texas, United States
Call for Papers Date: 2014-08-01 (in 8 days)
Date Submitted: 2014-05-12
Announcement ID: 213705
We invite presentation proposals for the daylong Analyzing the 1950s: Media, Politics, Culture Conference, to be held at Texas Christian University (Fort Worth, Texas) on Saturday, November 15, 2014.
The conference organizers are seeking historically and theoretically intriguing presentations that explore any noteworthy aspect(s) of media, politics, and/or culture during the 1950s, whether in the United States or elsewhere. This daylong conference promises to provide an intellectually stimulating investigation into the complex phenomenon that was “The Fifties.” Accordingly, participants are encouraged to interpret the conference theme quite broadly and innovatively.
Possible topics may include (but are certainly not limited to) advertising strategies, the atomic age, Beat writers, changing traditions and value structures, CinemaScope, cold war culture, containment strategies, desegregation, Elvis Presley, ethnic sitcoms, films noir, juvenile delinquency, Levittowns, Lucille Ball, McCarthyism, men in gray flannel suits, mid-century icons and stars, normative gender roles and expectations, the nuclear family, science fiction movies, technological innovation, television’s early years, variety shows, UFO scares, and saying what couldn’t be said.
We encourage submissions from scholars, educators, students, and filmmakers/videographers at all levels, and from disciplines including art, communication, cultural studies, film and video studies, history, journalism, LGBT studies, literature, media studies, music, political science, popular culture, sociology, television studies, and women’s studies, among others.
Individual paper presentations will be limited to 20 minutes in length. We also invite submissions of relevant media offerings (of any length, in DVD format) for screening and discussion at the conference.
Given adequate participant interest and high-quality submissions, we are hoping to publish selected papers (with author’s permission) in a special collection of essays pertaining to the conference theme.
Please e-mail presentation proposals containing (a) a one-page abstract with complete contact information (name, institutional affiliation, mail and e-mail addresses, contact telephone number) and (b) a one-paragraph author biography to Professor Kylo-Patrick Hart (k.hart@tcu.edu) on or before Friday, August 1, 2014.
Decisions regarding the status of submitted proposals will be made and communicated as quickly as possible following the submission deadline, and certainly no later than August 15, 2014. For specific inquiries prior to submitting a proposal, please contact Dr. Hart at your convenience by e-mail (k.hart@tcu.edu).
Kylo-Patrick R. Hart, Ph.D.
Department of Film, Television and Digital Media
Texas Christian University
Email: k.hart@tcu.edu
CFP Postcolonial SF (9/30/14; NeMLA Ontario 4/30-5/5/15)
Call for Papers: Postcolonial Science Fiction
Location: Ontario, Canada
Call for Papers Date: 2014-09-30
Date Submitted: 2014-06-25
Announcement ID: 214669
‘To (Not So) Boldly Go’: Science Fiction as Instrument of Colonial Enterprise
Both science fiction and postcolonial theory are concerned with troubling normative understandings of movement, diaspora, and hybridity. Indeed, “The Stranger in the Strange Land” is an oppositional trope that is at the heart of both science fiction and historical colonial encounters. The other-worldliness and futurity of science fiction has offered numerous writers an effective (and increasingly popular) medium to critique political, social, and cultural issues, and in many ways presents an ideal literary landscape to interrogate the colonial enterprise. Even so, there is a relative lack of postcolonial voices in the mainstream SF genre. What accounts for this silence? This panel seeks papers that explore how science fiction fails to disrupt – and conversely further enshrines – colonial hegemony. How do works of science fiction that overtly deal with issues attendant to an emerging postcolonial identity still paradoxically capitulate to a western, heteronormative value system? How is the postcolonial subject further marginalized, and the associated bodily, racial, and gender issues disembodied when figured within an “alien” Other? How might institutional barriers of the genre affect the emergence of a postcolonial science fiction? Papers might consider the ways various science fiction texts, series, and films represent or respond to postcolonial themes.
Please submit 250-300 word abstracts by September 30th, 2014. Visit nemla.org, and follow the instructions there to create an account and submit the abstract directly to the session.
Panel Chair: Jessica H Gray, University of Rhode Island
Jessica H Gray
University of Rhode Island
Email: jhgray@my.uri.edu
Visit the website at https://nemla.org/convention/2015/cfp.html
Location: Ontario, Canada
Call for Papers Date: 2014-09-30
Date Submitted: 2014-06-25
Announcement ID: 214669
‘To (Not So) Boldly Go’: Science Fiction as Instrument of Colonial Enterprise
Both science fiction and postcolonial theory are concerned with troubling normative understandings of movement, diaspora, and hybridity. Indeed, “The Stranger in the Strange Land” is an oppositional trope that is at the heart of both science fiction and historical colonial encounters. The other-worldliness and futurity of science fiction has offered numerous writers an effective (and increasingly popular) medium to critique political, social, and cultural issues, and in many ways presents an ideal literary landscape to interrogate the colonial enterprise. Even so, there is a relative lack of postcolonial voices in the mainstream SF genre. What accounts for this silence? This panel seeks papers that explore how science fiction fails to disrupt – and conversely further enshrines – colonial hegemony. How do works of science fiction that overtly deal with issues attendant to an emerging postcolonial identity still paradoxically capitulate to a western, heteronormative value system? How is the postcolonial subject further marginalized, and the associated bodily, racial, and gender issues disembodied when figured within an “alien” Other? How might institutional barriers of the genre affect the emergence of a postcolonial science fiction? Papers might consider the ways various science fiction texts, series, and films represent or respond to postcolonial themes.
Please submit 250-300 word abstracts by September 30th, 2014. Visit nemla.org, and follow the instructions there to create an account and submit the abstract directly to the session.
Panel Chair: Jessica H Gray, University of Rhode Island
Jessica H Gray
University of Rhode Island
Email: jhgray@my.uri.edu
Visit the website at https://nemla.org/convention/2015/cfp.html
CFP There and Back Again: Tolkien in 2015 (10/1/14; Ohio State 2/20-21/15)
More Tolkien outreach:
Call for Papers
There and Back Again: Tolkien in 2015
The submission deadline for abstracts and panel proposals is October 1st. Submissions after that date will be happily received, but cannot be guaranteed full consideration. Abstracts may be submitted via email to cmrs_gaa@osu.edu or via our webform at https://cmrs.osu.edu/events/pcdp/2015-tolkien/sign-up.
Contact email: cmrs_gaa@osu.edu
February 20-21, 2015
The Center for Medieval and Renaissance Studies at the Ohio State University invites abstracts and panel proposals for its second academic conference on Popular Culture and the Deep Past, devoted this year to the works of and world surrounding J.R.R. Tolkien: "There and Back Again: Tolkien in 2015." In keeping with the PCDP idea, this will be a full-fledged conference, itself nested in a broader 'carnival' of popular and traditional cultural events and activities, including food- and culture-ways demonstrations, exhibits of artwork, books, and manuscripts, combat, gaming, and cosplay. (If you wish to submit a proposal for a non-academic presentation or activity, or otherwise participate in 'Tolkien Day' as an organizer or volunteer, please see our separate 'Tolkien Day' CFP at http://cmrs.osu.edu/events/pcdp/2015-tolkien/carnival.)
Given the release in December 2014 of Peter Jackson's final Hobbit movie, we will be particularly receptive to proposals that draw on themes evoked in or growing out of Tolkien's 1937 novel; but we invite submissions involving research on any topic related to the Tolkien phenomenon, ranging from historical and cultural identities to linguistic, writing, and media systems, folkways and cultural expressions, fantasy and gaming, and popular or artistic manifestations of all kinds. As with last year's PCDP conference on the Game of Thrones, this one aims to explore the interface between historicity and contemporaneity: preference will be given to proposals in which this element is manifest.
Conference papers will be limited to 20 minutes' duration, followed by 10 minutes of discussion; they will be organized thematically into two-hour sessions of 4 papers each, ranging across two days. Submissions for entire conference sessions are welcome, in which case a session title and abstract should be submitted, along with individual paper titles and abstracts for the session from the different presenters.
Abstracts for sessions and individual papers should be limited to 250 words. Please contact us with any questions you might have; note that the submissions deadline is October 1.
Call for Papers
There and Back Again: Tolkien in 2015
The submission deadline for abstracts and panel proposals is October 1st. Submissions after that date will be happily received, but cannot be guaranteed full consideration. Abstracts may be submitted via email to cmrs_gaa@osu.edu or via our webform at https://cmrs.osu.edu/events/pcdp/2015-tolkien/sign-up.
Contact email: cmrs_gaa@osu.edu
February 20-21, 2015
The Center for Medieval and Renaissance Studies at the Ohio State University invites abstracts and panel proposals for its second academic conference on Popular Culture and the Deep Past, devoted this year to the works of and world surrounding J.R.R. Tolkien: "There and Back Again: Tolkien in 2015." In keeping with the PCDP idea, this will be a full-fledged conference, itself nested in a broader 'carnival' of popular and traditional cultural events and activities, including food- and culture-ways demonstrations, exhibits of artwork, books, and manuscripts, combat, gaming, and cosplay. (If you wish to submit a proposal for a non-academic presentation or activity, or otherwise participate in 'Tolkien Day' as an organizer or volunteer, please see our separate 'Tolkien Day' CFP at http://cmrs.osu.edu/events/pcdp/2015-tolkien/carnival.)
Given the release in December 2014 of Peter Jackson's final Hobbit movie, we will be particularly receptive to proposals that draw on themes evoked in or growing out of Tolkien's 1937 novel; but we invite submissions involving research on any topic related to the Tolkien phenomenon, ranging from historical and cultural identities to linguistic, writing, and media systems, folkways and cultural expressions, fantasy and gaming, and popular or artistic manifestations of all kinds. As with last year's PCDP conference on the Game of Thrones, this one aims to explore the interface between historicity and contemporaneity: preference will be given to proposals in which this element is manifest.
Conference papers will be limited to 20 minutes' duration, followed by 10 minutes of discussion; they will be organized thematically into two-hour sessions of 4 papers each, ranging across two days. Submissions for entire conference sessions are welcome, in which case a session title and abstract should be submitted, along with individual paper titles and abstracts for the session from the different presenters.
Abstracts for sessions and individual papers should be limited to 250 words. Please contact us with any questions you might have; note that the submissions deadline is October 1.
CFP Commemoration of 60th Anniversary of Lord of the Rings at University of Maryland College Park (7/20/14; 9/1-10/17/14)
This sounds like a worthwhile endeavor:Commemoration of the 60th Anniversary of Lord of the Rings (The Mithril Turtle)
Location: Maryland, United States
Call for Papers Date: 2014-09-01
Date Submitted: 2014-06-25
Announcement ID: 214675
CFP: Commemoration of the 60th Anniversary of Lord of the Rings (The Mithril Turtle)
2014 is the sixtieth anniversary of Lord of the Rings. The Mithril Turtle is the University of Maryland College Park’s commemoration of this important literary and cultural milestone. A variety of events are planned for September 1 – October 17, 2014.
Among these is an interdisciplinary discussion series. Tolkien's created world is realistically and compellingly realized, making it ideal for creative exploration of a wide range of disciplines. We invite proposals that use the lens of Lord of the Rings and Middle-earth to focus attention upon cutting edge research and scholarship.
Topics might include (but are not limited to):
- Does formal education exist in Middle-earth? [Higher Education]
- Tolkien as poet [Literature]
- Jackson’s films or other adaptations [Film Studies]
- Middle-earth, Tolkien, and the internet [Media and Pop Culture Studies]
- Tolkien’s contemporary art world and its influence on his art [Art]
- Tolkien-inspired artists and artwork [Contemporary Art]
- Tolkien’s cartography and medieval maps [Geography]
- Would Aragorn need an EPA? Land use in Middle-earth [Ecology, Public Policy]
- The economy of Middle-earth [Business and Economics]
- Tolkien’s medieval sources [History]
- Tolkien’s invented languages [Linguistics]
- Hobbit holes and earth homes: energy efficiency in Middle-earth [Architecture]
- Shelob, balrogs, and giant eagles: physiology in Middle-earth [Biology]
Short proposals (~one page) are welcome. For best consideration, send materials to Michelle Markey Butler (mbutler5@umd.edu) by July 20, 2014.
For more information about the LOTR Research Discussion Series, possible topics, or the Mithril Turtle event schedule, see mithrilturtle.umd.edu. Or contact Michelle Markey Butler (mbutler5@umd.edu).
Michelle Markey Butler
Email: mbutler5@umd.edu
Visit the website at http://mithrilturtle.umd.edu
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