CFP: CONFERENCE ON INFLATION AND DEFLATION IN ASIA

Conference on Inflation and Deflation in Asia

Sejong, Republic of Korea (Virtual Meeting Only)

29 Apr 2022

KDI School of Public Policy and Management

Description

Korea Development Institute School of Public Policy and Management (KDI School) is delighted to invite professors, policymakers, and experts to submit papers under the theme of Inflation and Deflation in Asia. KDI School welcomes the submission of high-quality original research papers. Selected papers will be presented during the Conference, which will be held on April 29, 2022 in Korea and online. The conference will be organized in collaboration with the East Asia Institute of the Ludwigshafen University of Business and Society in Germany.

Outline of the Conference:

Ever since the financial crisis of 2008/2009, the world’s leading economies have been struggling with deflationary tendencies. Inflation on the other hand, even in the face of unprecedented monetary easing by central banks, appeared like an “extinct volcano”. This gave even rise to an alternative branch of economic thought called “New Monetary Theory”, which claims that monetary stability can be maintained, even if high and further increasing public debt is routinely supported by monetary easing.

Recently, however, the possibility of a return of inflation has come into focus. One driver is the COVID-19 pandemic, which causes supply side restrictions on the one hand side and pent-up demand on the other. Furthermore, researchers like Charles Goodhart and Manoj Pradhan have pointed out that trends in demographic development and a less free environment in global trade also support inflationary pressures. A return of sustained inflation would certainly be a “game changer” in international economic policy, as central banks would be unable to fight the trend and still continue to support public debt sustainability by government bond buying programs.

Countries in Asia have their own distinctive experience with the issue of inflation and deflation. Japan for example is struggling with deflation ever since the 1990s with no imminent change in sight, whereas China, Korea, and the ASEAN countries have often faced the need to arrest inflationary pressures during their development. General price-stability issues in Asia may furthermore arise from the fact that many countries in the region have pegged their currency against the US Dollar or a basket of other currencies. Focusses on a certain country in the region are welcome as well as comparative perspectives.

Submission Details:

All papers must be written and presented in English. Original complete papers should be submitted to the conference organizer (Ms. Dabin Song) through email at dabinsong@kdis.ac.kr by March 18, 2022. Papers selected for presentation will be notified based on committee decision before March 31, 2022. The criteria for selecting papers are relevance with regards to the conference themes and the academic quality of the research. A maximum of ten authors will be selected, and those who present the paper and discuss an assigned paper at the online conference will be awarded an honorarium of USD 1,500. After the conference, selected papers will be invited to a book publication by Springer. It is optional whether you wish to accept this invitation to the book chapter contribution.

When submitting an abstract and a manuscript, please email the following information as well:

• First and last name / Institutional affiliation / Position

• Email address / Phone number (incl. country code)

• Names and affiliation of co-authors (if applicable)

Important Dates:

Complete Paper Submission Deadline: March 18, 2022

Result Notification date of Submitted Papers: March 31, 2022

Date of the Event: April 29, 2022 (Online)

Web

dabinsong@kdis.ac.kr

Dabin Song

CFP: CULTURE-BOUND SYNDROMES IN POPULAR CULTURE (ROUTLEDGE EDITED COLLECTION)

Culture-bound syndromes in Popular Culture

(Routledge edited collection)

February 3, 2022 to April 15, 2022

You are invited to submit an abstract for the upcoming edited collection Culture-bound syndromes in Popular Culture. The edited collection volume aims to provide in-depth and analytical insight into the representations of cultural imagery and narratives of various culture-bound syndromes through the lens of global and national popular culture, covering movies, television, visual arts, fashion, festivals, popular music, and graphic novels.

What does a culture-bound syndrome mean? The concept has come to define a pattern of symptoms (mental, physical, and relational) experienced only by members of a specific cultural group and recognized as a disorder by members of those groups.

“Culture-bound Syndromes in Popular Culture” takes its readers on a journey across (popular) cultures and introduces them to an entirely new subfield of studies, at the conjunction of medical anthropology and popular culture, focusing on folk illnesses.

Thus, this book covers a broad range of case studies, subjects, texts, and cultural practices that lie at the intersection of folk illnesses and cultural studies and include national, transnational, and international media representations, with an accent on the reception and interpretation of the phenomenon from the perspective of its original space.

We warmly invite established and emerging scholars specializing in all areas of media and cultural studies, anthropology, sociology, social/cultural geography, and other relevant research fields to propose a book chapter on an individual culture-bound syndrome and its representations in popular culture. Both single and multiple-authored works will be considered. All work should be original and previously unpublished.

We are also very interested in hearing open proposals for possible chapters about other cultural syndromes if the Table of Contents strikes you as improvable in any way.

Chapters might explore but are not limited to:

SECTION 1 East Asia and India

• Zou huo ru mo (China)

• Dhat syndrome (India)

• Hikikomori (Japan) Already taken!

• Taijin Kyofusho (Japan) Already taken!

• Hwabyeong (South Korea)

• Pa-leng (Taiwan)

SECTION 2 Southeast Asia

• Lanti (Philippines)

• Latah (Indonesia, Malaysia)

• Amok (Malaysia)

• Koro (Singapore)

SECTION 3 Latin America and Native American culture

• Locura

• Mal de pelea

• Nervios

• Susto

• Saladera (Peruvian Amazon)

• Windigo Psychosis (Native American)

SECTION 4 Africa and the Middle East

• Zar (Israel, Ethiopia)

• Ufufuyane, Saka (Kenya)

• Voodoo death (Haiti, Africa, Australia)

Routledge has expressed keen interest in the volume for their Research in Cultural and Media Studies Series.

Key dates:

Abstract submission deadline: 15 April 2022

Notification of acceptance: 30 April 2022

Full chapter submission (max 8000 words): 1 November 2022

Publication: January 2023

Please send in a working title, abstracts of max 500 words, and a brief biographical note of 150 words to: prof.irina.pelea@gmail.com

Please feel free to contact the volume’s editor (Irina Pelea) with any questions or queries. I look forward to receiving your abstracts.

Contact Info:

Professor Irina Pelea, Titu Maiorescu University, Bucharest, Romania.

Contact Email:

prof.irina.pelea@gmail.com

CFP: NEW PERSPECTIVES ON THE HISTORY OF BOOKS AND READING IN KOREA

New Perspectives on the History of Books and Reading in Korea

December 8, 2022

Massachusetts, United States

We invite paper proposals for a conference to shed new light on the history of the book and reading in Korea from the Chosŏn period to the early twentieth century.

Ever since Maurice Courant, a French diplomat-turned-scholar, published his monumental Bibliographie Coréenne in 1894, much ink has been spilled on the study of books in Korea. But where is the field headed now? In current research on the history of the book, especially in English-language scholarship, the Korean experience is more often than not written out or treated as an aberration: How was it that a country that had developed and widely used the technology for movable metal type printing as early as the thirteenth century had to wait until the turn of the nineteenth century to witness the rise of commercial printing of vernacular-language materials? The Eurocentric, print-oriented view tends to overlook the historical validity of various non-print forms of the book, as well as the physical instantiation of literacies and practices of writing and reading that flourished in Korea from the fourteenth to the early twentieth centuries.

We propose that the Korean historical experience is uniquely positioned to generate exciting new conversations about the global history of the book and of reading because it allows us to de-universalize the teleological narrative of evolution from manuscript to movable-type printing shaped by the European experience. We are interested in exploring the following issues. How can we better perceive the material habitat of written words in Korea by considering the entanglements within, co-existence of, and competition among book-making technologies and diverse forms of “bibliographical documents” (Adams and Barker 1993) in the Korean context—including print (xylography and movable type made of metal, wood, and clay), manuscript, and a plethora of primarily non-codex materials now categorized under the term komunsŏ (lit. “old documents”)? How can we better chart the technologies of literacy that Koreans deployed within a socio-textual universe shored up by the privileged status of Literary Sinitic and sinography? How did written (alphabetical) and spoken vernacular Korean, alongside vernacular reading and compositional methods (kugyŏl/t’o and idumun, respectively), complement and co-opt the textual authority of Literary Sinitic and sinography? How can we better examine the ways in which the materiality of the book as a communicative space—book cover, front matter (title page, table of contents, dedications, and so on), mise-en-page, and binding—was shaped, reoriented, and recomposed not simply as physical containers of text but also as expressive media as object, idea, and interface? What reading and interpretive practices did the physical shape of the book dictate and develop? For heuristic purposes, we adopt Amaranth Borsuk’s (2018) proposal of the book as object, content, idea, and interface, and we are also interested in how the book as a communicative space underscores a variety of somatic and affective experiences—visual-ocular, auditory-oral/aural/vocal, haptic, and olfactory.

We invite papers committed to twin projects: critically revisiting existing characterizations of Korea’s book culture while also conducting in-depth bibliographical examinations of original texts that register genres, cultural habits, and institutions. For example, we look forward to receiving proposals that will shed light on questions like the following: What cultural perceptions and attitudes were reflected in books and the wide range of activities pertaining to their production (paper supply, carving, binding, design, illustration, etc.), circulation, collecting, commercialization, transcription, personalization, de- and re-construction, honoring and discrediting, vernacularization, translation, annotation (glossing, marginalia, commentary, illumination, etc.), documentation, note-taking, anthologizing, republication, reprinting, and digitization? What books were involved in the defining events that shaped the materiality of books and changed practices of reading? We accept paper proposals that will venture into terra incognita as well as proposals that aim to rechart well-trodden territory.

The conference will take place on December 8, 2022 at Harvard University, Cambridge, Massachusetts. The one-day conference will have three components: a workshop to discuss each paper hands-on examination of select materials held by the Harvard-Yenching Library, and a roundtable discussion. We envision a publication of papers in a journal special issue after the conference.

As we get closer to the conference date, we will coordinate presentation modes with all accepted participants, depending on the Covid-19 pandemic situation.

If you are interested in participating in the conference, please send a paper proposal (250–300 words) accompanied by a CV to Si Nae Park (sinaepark@fas.harvard.edu) and Suyoung Son (ss994@cornell.edu) by March 1, 2022. Selected participants are expected to send in a paper draft by the end of August 2022.

Timeline:

Paper proposals (250–300 words) due on March 1, 2022

Completion of draft papers (6,000–8,000 words) due on August 31, 2022

Conference: December 8, 2022

Thank you very much.

Conveners/Contact:

Si Nae Park, Associate Professor, East Asian Languages and Civilizations, Harvard University (sinaepark@fas.harvard.edu)

Suyoung Son, Associate Professor, Asian Studies, Cornell University (ss994@cornell.edu)

Contact Info:

Si Nae Park

Department of East Asian Languages and Civilizations

Harvard University

Contact Email:

sinaepark@fas.harvard.edu

II JORNADAS 8M: GÉNERO EN ASIA (WOMESIA)

II Jornadas 8M: Género en Asia

WOMESIA

El grupo WOMESIA convoca las II Jornadas #8M: Género en Asia que tendrán lugar los días 8 y 9 de marzo en formato online.

Con motivo del Día Internacional de la Mujer Trabajadora (8M), las jornadas están dirigidas tanto a estudiantes como profesionales en materia de género y tienen como objetivo principal divulgar el trabajo de mujeres asiáticas en nuestro país, así como crear un espacio para compartir recursos académicos que motiven a las generaciones futuras a adentrarse en este amplio campo de estudio.

Se contará con la participación de mujeres asiáticas de Japón, Mongolia o Corea del Sur, que nos hablarán de diferentes temas que les afectan en la sociedad actual ayudando así a entender tanto las necesidades como los puntos fuertes de las mujeres en Asia, generando un espacio libre de prejuicios en el que poder aprender en comunidad.

Estas jornadas se centran en los objetivos fundamentales de la Asociación AGEPEA, que son la inclusión de estudiantes y especialistas en estudios asiáticos, con el motivo de fomentar la educación y el ámbito laboral dentro de nuestra especialidad en el marco nacional. Por ello, queremos invitar a que estudiantes y especialistas participen en nuestras jornadas. Las temáticas tratadas, al igual que la convocatoria del pasado año, podrán variar según las sugerencias de los ponentes, habiendo contado hasta ahora con ponencias relacionadas con los roles de género actuales, la mujer en los medios de comunicación, la mujer y las religiones actuales, la mujer en el trabajo, las mujeres LGTB+, etc.

Las exposiciones, tendrán una duración de 25 minutos con una ronda de preguntas de 20 minutos por sesión. Al finalizar las jornadas, los estudiantes que presenten sus trabajos recibirán un certificado de participación.

¿Quién puede participar?

• Mujeres asiáticas que quieran compartir sus estudios o experiencias personales tanto en España como en sus países de origen.

• Estudiantes o egresados del Grado de Estudios de Asia Oriental o Máster que hayan realizado algún trabajo de género dentro del grado, así como TFG, TFM y quieran exponer en las jornadas.

• Estudiantes o egresados que hayan realizado otros estudios, pero hayan enfocado sus trabajos, TFG, o TFM a temáticas de género en algún país asiático.

• Doctorandos, profesionales, profesores o especialistas en materia de género sobre algún país de Asia.

¿Cómo participar?

• Mandar un correo a grupowomesia@gmail.com antes del 27 de febrero a las 23:55 horas con la siguiente información:

• Nombre y apellido.

• Tipo de formación académica: grado, máster, doctorado…

• Resumen de hasta 250 palabras del tema/trabajo/TFG/TFM/Tesis que se quiere presentar en las jornadas.

• Breve bibliografía utilizada.

(Una vez seleccionadas, se les pedirá a las participantes que envíen un Power Point para exponer su presentación al mismo correo electrónico, para evitar problemas técnicos el mismo día de las ponencias)

Los asistentes podrán asistir de manera gratuita a través del enlace que se compartirá en nuestras redes sociales antes del comienzo de las jornadas, que se desarrollarán en formato on-line a través de una plataforma de streaming.

Organiza:

Casa Asia, con la colaboración de Korea Foundation.

CFP: THE HALLYU PROJECT, A POST45 CONTEMPORARIES CLUSTER

The Hallyu Project,

A Post45 Contemporaries Cluster

Squid Game’s global impact barely needs introduction. The first ever television series to top Netflix daily charts in every single country where the streaming service is available. Netflix’s most-watched series as of October 2021, a distinction previously held by the American period drama Bridgerton. What is more impressive is that the South Korean show achieved this in a non-English language, proving that Parasite’s cultural breakthrough in 2019 was not simply an anomaly. Perhaps English-speaking viewers have finally, to quote Parasite director Bong Joon-ho, overcome “the one-inch tall barrier of subtitles.”

But why now?

The Hallyu Project cluster invites contributors to think about how, why, and whither Korean popular culture is resonating worldwide at this moment in time. What distinctive structures of feeling do Korean cultural products offer in a world that must increasingly reckon with neoliberal precarity, physical displacements, and global systems of exploitation? How has the production and reception of Korean pop culture opened up questions of racial capitalism, super-exploitation, neocolonialism, cultural hybridity, media trans-nationalization, and fandom culture?

Squid Game shines a light on these issues, but it is far from the only Korean show to do so. Reflective of what has been termed South Korea’s “compressed modernity,” in which explosive post-war economic growth also led to tremendous social upheaval, Korean television and film tend to underscore the ways in which individual lives are caught within broader socioeconomic, gender, national, and imperial contexts. Tracing all the way back to the Golden Age of South Korean Cinema (1955-72), these narratives have long been invested in exploring how, as Kathleen McHugh writes, “personal frustration becomes the basis for interpersonal identification that is at once familial, social, and political.”

What new understandings emerge when we locate Squid Game within this long history of performing the personal as the political? How is that politics complicated by the ambivalent status of the Hallyu commodity, a commodity produced both to express domestic concerns and for exporting to a global audience? Is Hallyu necessarily self-conscious? How are Hallyu products differently received by Koreans, the Korean diaspora, countries outside of Korea, seasoned Hallyu fans, and other international viewers? What implications does this hold for our understanding of Hallyu and online fandom?

Suggested lines of inquiry for cluster contributions include, but are not limited to:

• The unstable meanings of Hallyu: What is it, who owns it, who is it for, what ends does it serve?

• Cultural analyses of Korean media content: Analyze Korean tv shows, music, film, variety programs, and other relevant narrative/audiovisual modes within a domestic and/or transnational context. What makes them distinctive?

• Hallyu’s (neo)colonial roots and/or (post)colonial implications

• Cross-cultural comparisons: Compare Korean and non-Korean popular media. As an example: What distinguishes Squid Game from other cultural offerings within the “battle royale” genre, such as America’s Hunger Games and Japan’s Alice in Borderland?

• The self-consciousness of Hallyu products: their mutual references and porous boundaries. As an example: How does Squid Game’s themes, motifs, and eye-popping sets connect and/or consciously allude to other Korean cultural exports, including variety game shows, K-pop, and other internationally popular tv shows?

• Digital Hallyu: The influence of streaming and social media platforms on Korean popular culture

• Hallyu fandom: Fan practices and their potentially transformative power

• Hallyu's uneven reception across different communities and cultures: Koreans, the Korean diaspora, the Global South, the Global North, seasoned fans, novice viewers, etc.

What is a Post45 Contemporaries “cluster”?

Post45 Contemporaries provides a forum for writers to converse with one another more directly and informally than in traditional academic publications. These curated conversations, or “clusters,” range from sets of relatively autonomous short essays on a common theme to extended epistolary exchanges.

Please visit the Post45 Contemporaries website for examples of what clusters look and sound like.

What should a contribution sound like?

Intellectually stimulating, but conversational; rigorous, but accessible. Designed to spark thought and debate, at dinner tables and in undergraduate classrooms alike.

Not too long—about 3,000 words or so. Multi-modal and alternative formats also welcomed!

Editorial Process and Timeline

Abstracts due: March 1, 2022

Response to abstracts: March 15, 2022

First drafts due: August 15, 2022

Second drafts due: October 2022

Publication: Winter 2022

Please submit a 300-word abstract and a 100-word bio to Yin Yuan (yy8@stmarys-ca.edu) by March 1, 2022. Questions can also be directed to this same email. We look forward to hearing from you!

CFP website

Post45 Contemporaries website

The Hallyu Project website

TERTULIAS LITERARIAS SOBRE NOVELA NEGRA COREANA, CASA ASIA

Tertulias literarias sobre novela negra coreana

Casa Asia, Korea Foundation

La Mediateca de Casa Asia vuelve a colaborar con la Korea Foundation para organizar un segundo ciclo de tertulias literarias guiadas sobre autores y autoras coreanos y coreanas. En esta ocasión, el ciclo versará sobre la novela negra.

Éxitos mundiales del audiovisual procedentes de Corea, como Parásitos o El Juego del Calamar en la actualidad, pero ya con obras como la Trilogía de la venganza u Oldboy, disfrazan de thriller una reflexión sobre las limitaciones del ser humano en su contexto, y triunfan mundialmente como propuestas violentas pero originales. No es de extrañar, por ello, que cada vez se traduzca más novela negra coreana, incluso al español. Tampoco sorprende, que la novela negra coreana se haya postulado en estos últimos años como alternativa potencial a la novela nórdica. Aunque está por ver si se cumplirá este objetivo, lo cierto es el género, que como en otras muchas tradiciones se ha considerado de segunda fila, o literatura popular, cuenta con grandes bestsellers locales en su haber e incluso alguna incursión de autores más conocidos por otro estilo de literatura. En este ciclo, intentaremos aproximarnos a la novela negra coreana usando como punto de partida los títulos publicados en español.

Las tertulias literarias guiadas pretenden crear un grupo de personas interesadas en compartir la lectura y el comentario de obras dirigidas por una experta que nos ayudará a analizar la obra de los autores y la repercusión que ha tenido en la literatura y en su entorno socioeconómico y cultural.

Cada mes se propondrá una lectura y el día de la tertulia los participantes junto con la conductora de la sesión, comentarán las impresiones que los lectores hayan tenido de su lectura, la conexión que han encontrado entre la historia, los personajes y su propia vida.

Estas sesiones se impartirán en formato online, el tercer miércoles de cada mes, de febrero a junio y son  gratuitas.

Las tertulias serán guiadas por Ester Torres Simón, doctora en Traducción y Estudios Interculturales por la Universitat Rovira i Virgili de Barcelona (URV) y licenciada en Traducción e Interpretación (inglés, japonés) por la Universitat Autònoma de Barcelona (UAB). Tras haber sido docente en la Chonbuk National University (República de Corea), la Universidad de Yonsei (República de Corea) y la Universidad Europa del Atlántico y profesora colaboradora en la Universitat Oberta de Catalunya (UOC). Actualmente ejerce de profesora de lengua coreana en la Universtat Autònoma de Barcelona y centra su investigación en la circulación de literatura coreana y la traducción indirecta.