Mostrando entradas con la etiqueta media. Mostrar todas las entradas
Mostrando entradas con la etiqueta media. Mostrar todas las entradas

CFP: POPULAR CULTURE REVIEW "ASIAN AND AMERICAN POPULAR CULTURE"


Popular Culture Review

“Asian and Asian American Popular Culture”


Popular Culture Review seeks to publish compelling, well-argued, and well-researched articles on a variety of topics related to popular culture, both contemporary and from earlier eras. While film, television, literature, and video games are common popular culture subjects, we wish to broaden the journal's exploration of popular culture as well. Examples might include regional popular cultures, popular culture and food, popular culture in previous decades or eras, popular culture and social media, popular culture and music, and the like.

Popular Culture Review comes out twice a year – in the summer and late winter. Our winter issue is a general issue open to all topics related to popular culture and the summer issue is a special issue focused on a particular topic.

Submissions for general issues are due by January 15th for consideration in that year's general issue and by June 10th for that year's special issue. Submissions undergo a rigorous peer review process.

2023 Special Issue in Progress: Black Popular Culture in America - submission deadline has passed

2024 Special Issue: Asian and Asian American Popular Culture - Submissions open and due by June 15, 2024. For this special issue, Popular Culture Review is interested in articles related to all aspects of Asian and Asian American popular culture. This includes, but is certainly not limited to, topics including:
  • art
  • literature
  • music
  • graphic novels
  • animation and anime
  • video games
  • food culture
  • fashion
  • social media culture
  • television and film​
We are interested in articles that consider contemporary popular culture and/or earlier popular culture.

Submission of Manuscripts
  • Submission of an article requires that it presents original, unpublished work not under consideration for publication elsewhere.
  • Submissions should be in English, using American spelling and punctuation, and be double-spaced.
  • We accept articles between about 25-30 pages (including notes and citations). We may consider longer pieces if the subject matter and quality of the article warrant a longer length.
  • All figures require a caption and should be referenced in the text. If manuscript is accepted, high-quality files of all photographs, drawings, maps, and other artwork must be submitted as separate attachments.
  • Please submit articles for consideration as a Word attachment, with no identifying information on the attached document, to the Editor at popularculturerevieweditor@gmail.com.
    • In a separate attachment, please include your name, your email address, the article title, a 75-word abstract, a 50-word bio, and a short list of keywords. Please also indicate if the submission is for a general issue or a special issue.
  • All submissions will receive acknowledgment of receipt, and peer reviews with notice of acceptance or rejection.
  • Upon an article being accepted for submission, the author will need to submit a final copy, with any revisions as needed, conforming to the Manuscript Guidelines as indicated in the "Formatting and Style" guidelines in the next section.​
Formatting and Style
  • Please utilize MLA (8th edition) format. Quotes and paraphrased passages must be followed by their citations within the text. The Works Cited should be on a new page, after the last page of End Notes.
  • Please utilize End Notes instead of Footnotes.
  • Please refrain from the use of we, you, or us.
  • Please refrain from the use of the first person in the body of your article. Personal anecdotes or experiences relevant to the article can be included in the End Notes.
  • Please do not announce the paper's main argument with phrasing like "This paper will..." Instead, utilize a compelling and arguable claims or set of claims, as these will draw in readers' interest.
  • The author is responsible for obtaining permissions for illustrations, song lyrics, advertisements, etc., which are to be published with the article.
  • Quoted material should stay within copyright Fair Use guidelines (generally not exceeding one-hundred (100) words in length per quote/extract). See 17 U.S. Code § 107 for guidelines on what qualifies as Fair Use.

CFP: "ARE WE THERE YET? JOURNALISM EDUCATION DURING THE SOCIAL MEDIA AGE IN ASIA"


“Are We There Yet? Journalism Education

During the Social Media Age in Asia”


Social Media have brought a paradigm shift in journalism and journalism education is in transition in this ever-changing media landscape in the Global South. The process of news has been getting complex and challenging as the journalists have to adapt with the social media tools from gathering to disseminating news.

As a continent, Asia is unique with 60% of world population and one third of area in the globe. The history and civilization of this region date back to thousands of years and Asia is the birthplace of major religions. Journalism education was not started in Asia but this region is known for its pioneering and thought-provoking educational initiatives starting from ancient Babylonian civilization to modern day’s leading role in STEM.

Journalism in Asia has been developed based on both the North American and European models as many countries of this region were colonized by either a North American or a European, mostly British, ruler. Likewise, journalism education has been modeled by both North American and European pedagogies.

With the advancement of digital media, Asian journalism educational institutions have been trying to adopt new pedagogy, redesign curricular alongside utmost struggle to adapt with the new and changing scenario.

The process of news has been ever evolving as social media provides unlimited opportunities to get information from the digital sphere. In addition, the traditional model of getting information from the mainstream media is withering away and the economic existence of journalism is in jeopardy. The access to the sources has become much easier and journalists could reach new audiences and increase the visibility of news. On the other hand, the social media landscape also has been putting pressure on journalists to keep up with the pace of breaking the news.

Given the ever-evolving Asian journalism education landscape, this book aims to address the following questions: Are Asian journalism educational institutions ready and equipped to train journalists in the social media age? What are the challenges of journalism education and how should those challenges be addressed?

In this book, the authors from the Asian countries will highlight the challenges and opportunities of journalism education in the digital and social media age in Asia.

The book aims to house scholars from various backgrounds who have experience in journalism education in all Asian countries. It tends to cover the scenario of journalism education in various Asian countries of diverse socio-political backgrounds and cultures. The book aims to cover the issue in the methodological and theoretical discussion and challenges regarding the reciprocal engagement between journalism educational institutions and journalists from both local and regional perspective.


Notes on editors

Neelam Sharma (Ph.D.) is an Associate Professor of Journalism and Media Studies and the Director of Graduate Program in the Department of Communication, Media and Persuasion at Idaho State University, USA. Dr. Sharma earned her Ph.D. in Public Communication and Technology from Colorado State University, Fort Collins. She also received her M.A. from Panjab University, India. Dr. Sharma teaches courses in Media Writing, Business Journalism, Social Media, and Research Methods. Her research interests include social media, journalism, and the South Asian news and entertainment media. Her research appears in journals including the International Journal of Communication, Psychology of Popular Media, Journal of Communication Inquiry, Global Media and Communication, and Atlantic Journal of Communication, among others. She is currently working on her sole-author book project, Online Abuse, hatred and women journalists in India. Dr. Sharma served as the PF&R chair of the International Communication Division (ICD), AEJMC. Before starting her doctoral studies in the US, Dr. Sharma worked as a journalist with the two-leading media, The Times of India and The Indian Express, in India.

Delaware Arif (Ph.D.) is a digital journalism Associate Professor and Graduate Program Director in the Department of Communication at the University of South Alabama, USA. He teaches Digital Writing & Production, Multimedia Storytelling, Social Media, and Ethics and Social Responsibility. Dr. Arif also taught mass communication courses at the University of Wisconsin-Whitewater. He was an Assistant Professor in the Department of Communication and Journalism at the University of Chittagong in Bangladesh. He also served as Chairman of the department until coming to the U.S. to pursue his Ph.D. Before joining teaching in 2002, Dr. Arif worked for Reuters, Bangladesh National News Agency (BSS) and an international NGO, the Hunger Project. He earned his Ph.D. in Mass Communication and Media Arts at Southern Illinois University Carbondale (SIUC) focusing on the patterns of usage of social media among the South Asian diaspora group in the U.S. He also received his M.A. in media theory & research from SIUC. Dr. Arif completed the Training for Trainers course at the International Institute for Journalism (IIJ) in Germany. He received his B.A. and M.A. in Mass Communication and Journalism from the University of Dhaka in Bangladesh. His teaching and research areas revolve around social media, new media, political communication, international communication, journalism studies, race and media, and mass media ethics.


Important Deadlines
  • Abstract submission: December 31, 2023
  • Final manuscript: March 31, 2024
  • Tentative Publication: August 2024
Potential publishers:



Please send your abstract:
  • sharneel@isu.edu
  • darif@southalabama.edu​​
Contact Information
Contact Email: darif@southalabama.edu

CFP: "SUSTAINABILY AND RESILIENCE IN EAST ASIA" SYMPOSIUM, UNIVERSITY OF ARIZONA


“Sustainability and Resilience in East Asia” symposium,

University of Arizona


The Center for East Asian Studies (CEAS) at the University of Arizona is pleased to announce that the symposium “Sustainability and Resilience in East Asia” will be held in October 2023.

This biannual one-day hybrid symposium is open to both the local public and to virtual audiences online. We invite scholars and graduate students from any field to discuss the past and future of environmental awareness and challenges with East Asia as the context. In addition to what is conventionally considered East Asia, we will also consider proposals that focus on Vietnam and the Himalayan region.

The following topics are some examples, but we welcome presentations that examine all issues related to the scientific, social, and cultural dimensions of the environment and sustainability in East Asia.
  • Changes in East Asia’s environments from multiple perspectives (geosciences, culture, history, religion, etc.)
  • East Asia's climate challenges and solutions in the past, present, and future (arid regions, water and natural disasters and their management, pollution, and green initiatives, etc.)
  • Cultural construction, negotiation, and representations of environmental sustainability and resilience in East Asia (e.g., literature, TV and films, music, anime/gaming culture, theater and performance, digital media, etc.)
  • New and interdisciplinary approaches to the study and understanding of environments in the East Asian context (new meanings of environmental studies, transnationality, ecocriticism, shifting boundaries of the field, posthumanism, etc.)
Dates: October 2023, date TBD

Location: Biosphere 2, Tucson, Arizona



For more information about the symposium and CEAS, please visit the conference website.

Please submit an abstract (up to 250 words) and a brief bio (up to 100 words) to EAS-Center@arizona.edu by August 15, 2023.

CFP: EAST ASIAN ECOCINEMA CONFERENCE, UNIVERSITY OF IDAHO


East Asian Ecocinema Conference,

University of Idaho, February 22-23, 2024


Description:

Ecocinema has recently drawn scholarly attention in East Asian cinema studies, though usually within nation-state frameworks. This conference will contribute to exploration of ecological thinking with regards to media by encouraging inter-Asian conversations about ecocinema. Given the global issue of climate change, it is urgent to develop ecocritical perspectives beyond national cinema frameworks. For example, what can we learn about the relationship between cinema and natural disasters by comparing documentaries from Japan and China? How did filmmakers capture the changing cityscape and landscape during industrialization in different regions in East Asia? Challenging the Euro-America-centric discourse of Theory, what kind of ecocritical approaches and concepts are formed in media theories and criticisms in Asia? Can the increasing popularity of anime, which often reflects on natural disasters such as 3/11, inspire ecocritical thinking in the global audience? By providing scholars in East Asian cinema with a space for dialogue, this conference aims at mapping out alternative perspectives toward ecocinema beyond national borders.

This conference invites paper proposals from all areas in East Asian film studies. Interdisciplinary submissions from across the humanities are welcomed. Possible topics include but are not limited to the following:
  • Catastrophe in anime
  • Eco-activism by celebrities
  • Ecocinema as a genre
  • Ecocriticism and media theory in Asia
  • Ecological documentary
  • Environmentalist film
  • New media and environment
  • Non-anthropocentric worldview
  • Sustainability and the film industry
Keynote speakers:

Submission process:

We invite scholars at all stages of their careers, across multiple disciplines as well as employing diverse methods and theories to submit proposals to this in-person conference. We will consider publishing selected contributions in an edited volume. The conference sponsor (the Idaho Asia Institute) will provide presenters with three nights lodging at a hotel in Moscow, Idaho (room shared with one other participant) and some meals. Participants will be expected to fund their own travel to and from Moscow, Idaho and other expenses.

Please submit the paper title, a 300-word abstract, and a short CV to Yuta Kaminishi (yutak@uidaho.edu) by July 30, 2023. Acceptance of proposals will be communicated by August 14, 2023.

Conference Organizers:

CFP: K-POP AND THE WEST; MEDIA, FANDOM AND TRANSNATIONAL POLITICS




K-pop and the West: Media, Fandom, and Transnational Politics
 

October 27-28, 2023


The University at Buffalo’s Asia Research Institute will host its second annual Korean studies symposium, “K-pop and the West: Media, Fandom, and Transnational Politics,” on October 27-28, 2023. The symposium aims at creating an opportunity to think about research, pedagogy, and methodologies in our critical study of K-pop in the West. There has been some debate about whether K-pop’s popularity in the U.S. market represents its status as a mainstream—as compared to an ethnic—pop genre. Some would argue that the current success of K-pop be viewed as a collective achievement of K-pop fans. In this view, American fans have, in particular, “fought against” the U.S. media industry’s commercial devaluation of K-pop and their racially discriminatory practices that adversely affect K-pop artists.

The UB Asia Research Institute calls for proposals that critically engage in interdisciplinary dialogues among fields of humanities and social sciences. Drawing from the expertise of our keynote scholars Dr. Dafna Zur, Stanford University, and Dr. Thomas Baudinette, Macquarie University, the symposium seeks proposals from various disciplines and theoretical approaches addressing, but not limited to, the following questions: How do Western media, fandom, and academia contribute to the formation of K-pop and its global circulation? What are the potentials and limits that we encounter as K-pop scholars in Western academia? How do actors in the K-pop world engage in translocal politics and public discourses in the West?

Possible topics may include but are not limited to:

Globalization: music and media circulation; transnational development and localization of Korean popular music; making of the K-pop production system; Western hegemony in K-pop nation branding: postcolonial or Orientalist formation of Koreanness; marketing strategies in the Western market; imagining Korea through K-pop

Fandom: participatory culture in Anglophone K-pop fandom; fan activism; fans as promoters; K-fans and K-media; Koreaboos; K-pop tourism; Korean language and translation

Gender and sexuality: K-pop bodies and Asian stereotypes; understanding K-pop as androgynous, queer, and/or patriarchal; critiques of soft masculinity; Western representation of K-pop “fangirls”

K-pop pedagogy: how to apply participatory culture and ethnography; how to avoid cultural misunderstanding and mistranslation; creative ways to teach K-pop

Race and racial politics: K-pop fans’ engagement in American/Western racial politics; racism in Western music/media industries; circulation and formation of race in K-pop; non-Korean K-pop idols

Western media and Orientalism: critiques of “the dark side of K-pop”; K-pop artists’ social mobility and glass ceiling in Western pop scenes; media ethics; (mis)translation of Korean language and culture

For this symposium, the Asia Research Institute seeks submissions from researchers of all stages in interdisciplinary fields of humanities and social sciences. Presenters must be present at the symposium in person, although the presentations will be livestreamed. To apply, please send your CV with a 250-word abstract in a single PDF file to kpop2023@buffalo.edu. We are accepting proposals until July 15, 2023, and notifications will be sent by mid-August, 2023. The Asia Research Institute will provide local hotel accommodations and meals during the symposium to all participants whose papers are accepted. In addition, there will be a limited number of modest travel grants available by application to those who are in need of further support.

The University at Buffalo Asia Research Institute is a multidisciplinary hub and collaborative space for research and education about Asia and its diasporic communities. The institute leverages and amplifies existing UB faculty expertise on many regions of Asia; provides enriching research and experiential learning opportunities for students; and engages with local Asian and Asian heritage communities through educational and cultural programming to promote a diverse and inclusive environment.

This symposium is possible because of funding from the Academy of Korean Studies, Korea.


Inquiry:

Stephanie Choi, Postdoctoral Associate: schoi43@buffalo.edu

Bruce Acker, Assistant Director: backer@buffalo.edu

SEMANA CULTURAL COREANA: CHARLAS SOBRE COREA


Semana Cultural Coreana:

Charlas sobre Corea


Exposición de trajes HANBOK para niños

Indumentaria tradicional infantil de Corea

Fechas: 23 – 27 del mayo, martes - sábado, 10:00 – 15:00 h

Lugar: Real Academia de Bellas Artes San Fernando

Asistencia: Entrada libre y gratuita


Semana del Cine Coreano

Lugar: Cines Verdi Madrid (C. de Bravo Murillo, 28)

Programa:
  • La novelista y su película (Hong Sang-soo, 2022): 24 de mayo, miércoles, 20:15 h
  • Minari. Historia de mi familia (Lee Isaac Chung, 2020): 25 de mayo, jueves, 20:15 h
  • Broker (Hirokazu Koreeda, 2022): 26 de mayo, viernes, 11:30 
  • Hunt. Caza al espía (Lee Jung-jae, 2022): 27 de mayo, sábado, 11:30 h
Asistencia: Entrada libre y gratuita hasta completar aforo


Charlas sobre Corea

Ponencias para conocer más sobre Corea con expertos
  • Primera Jornada: 23 de mayo, martes, 12:00 h
    • Tema y ponentes:
  • Segunda Jornada: 25 de mayo, jueves, 12:00 h
    • Tema y ponentes:
      • “La península coreana: historia de dos realidades tan lejanas como cercanas”, Rafael Bueno, Director de Casa Asia
Asistencia: Entrada libre y gratuita hasta completar aforo


La Voz de Corea

Recital de solista coreano Il Hong con repertorio de música clásica coreana y óperas famosas
  • Primer concierto: 25 de mayo, jueves, 12:00 h
    • Programa:
      • “Madamina, il catalogo è questo”, <Don Giovanni>, Wolfgang Amadeus Mozart
      • “Votre toast, je peux vous le rendre", <Carmen>, Georges Bizet
  • Segundo concierto: 26 de mayo, viernes, 12:00 h
    • Programa:
      • “Nadie podría saber”, Wonsik Lim
      • “Añorando el pasado", Jin Choi
      • “Come dal ciel precipita", <Macbeth>, Giuseppe Verdi
      • “Despierta negro, que viene el blanco", <La tabernera del puerto>, Pablo Sorozábal
      • “Madamina, il catalogo è questo”, <Don Giovanni>, Wolfgang Amadeus Mozart
      • “La montaña", Shin Dongsu
      • “Balada sobre la montaña Shingo”
      • “Miei rampolli femminini”, <La Cenerentola>, Gioachino Rossini
      • “Udite, udite o rustici", <L’elisir d’amore>, Gaetano Donizetti
Asistencia: Entrada libre y gratuita hasta completar aforo


Concierto y K-Fashion

Desfile de moda HANBOK con modelos españoles y Concierto de Grupo Vocal MILLENNIUM con vocalistas españoles cantando en coreano.

Fecha: 27 de mayo, sábado, 19:30 h

Lugar: Teatro Monumental

Asistencia: Reserva previa de entradas gratuitas. S.R.C antes del 17 de mayo.

CFP: ÁMBITOS FEMINISTAS JOURNAL SPRING 2024 ISSUE 12


Call for submissions, Ámbitos Feministas Journal

Spring 2024 Issue 12


The editors of Ámbitos Feministas invite original and unpublished contributions in English, Portuguese, and Spanish, including essays, translations, creative writing (such as poetry and short stories), book reviews, miscellanea, and artistic creations in the fields of Gender, Queer and Sexualities Studies, Cultural and Film Studies with Gender Gaze, Pedagogy DEIB, Feminist, and Women Studies. Ámbitos Feministas welcomes proposals for special issues. Submissions are encouraged from diverse perspectives and disciplines, with a particular emphasis on the transatlantic perspective of Latin American, Caribbean, Iberian Peninsula, African, Asian, United States, Philippines, and Indigenous studies. Ámbitos Feministas accepts essays at any time, but to be considered for the next spring issue, submissions must be received by September 30.

EDITORIAL GUIDELINES FOR SUBMISSIONS

To ensure that your work aligns with the journal’s scope and mission, Ámbitos Feministas recommend reviewing the “Editorial Guidelines (English-Spanish)” carefully, and your submission meet the following general requirements:

a. All authors in all sections must have a current membership to the coalition Feministas Unidas Inc. This can be obtained through Feministas Unidas (http://feministas-unidas.org/) and must be maintained throughout the submission and publishing process.

b. By submitting your work, you confirm that it is original and complies with our “Editorial Guidelines (English-Spanish).” You declare that the work has not been previously published and is not currently under consideration for publication or any other award. Ámbitos Feministas does not consider multiple, concurrent submissions by the same author.

c. To submit your work (special issues are different), please use the corresponding link and follow the instructions to upload the following documents: 1.-A PDF-format CV of no more than three pages; 2.-A PDF-format page containing your personal information, including your name, email, affiliation, position, and the title of your work; and 3.- The anonymous work to be evaluated, which must meet the requirements set out in our “Editorial Guidelines”

LINKS FOR SUBMISSIONS







Please ensure that you are using the correct link for your submission to avoid delays or potential errors in processing. If you experience any issues with the submission process, please contact our editorial team at (aisimon@adelphi.edu) for assistance.

aisimon@adelphi.edu

Organization: Ámbitos Feministas

Event Date: 2023-09-30 Abstract Due: 2023-09-30

CFP: VERGE ISSUE 11.2 “THE ASIAN CENTURY: IDEA, METHOD, AND MEDIA”




Call for Papers for Verge Issue 11.2

“The Asian Century: Idea, Method, and Media”


What is the Asian Century? Are we living in it? Do its recent invocations—by writers and readers, politicians and pundits, journalists and academics—mark a return to earlier eras of relative Asian centrality on the world stage or announce a future we have yet to inhabit? Is it a paranoid, U.S.-centered discourse of Western decline or a triumphant announcement of Asian economic-semiotic arrival? Is the Asian Century an aspiration or a threat—and to whom?

The term “Asian Century” has more than one origin story. Narrators are multiple, located in both Asia and the West. In a 1988 summit, China’s Deng Xiaoping, alongside Indian Prime Minister Rajiv Gandhi, may have coined the phrase by calling it into question: “In recent years, people have been saying that the next century will be the century of Asia and the Pacific, as if that were sure to be the case. I disagree with this view.” For Deng, skepticism about the inevitability of Asia’s rise was going to be crucial to the India-China partnership against the “developed” world; his skepticism hasn’t aged well. In the wake of the 2008 financial crisis, US Secretary of State Hillary Clinton declared a “pivot to Asia” in “America’s Pacific Century.” Clinton’s emphatic recapitulation of the “Asian Century” revived Western tropes of Asian ascendancy that predated Asia’s contemporary economic rise by more than a hundred years, while betraying American anxieties about the decline of US hegemony. In fact, both Deng and Clinton were responding to a process that had been underway since at least the early-1970s: the “long downturn” or tendential decline in profitability of Western economies that ran alongside the “economic miracles” of many Asian economies, including Japan’s Cold War-era boom and India’s and China’s eventual liberalization. For some, the Asian Century was, or is, a solution. Now, in an era of mounting deglobalization, its contradictions are just as sharply felt as its curious staying power.

What distinguishes the current round of Asian Century discourse is perhaps its mutual construction by “Asians” and “Westerners” alike. When the Asian Century came into wide currency in the 1990s, replacing a then-regnant “Pacific Rim” and “Pacific Century” rhetoric, it remediated a long history of similarly totalizing visions that issued not least from the “Asians” themselves: from Japan’s monstrous pursuit of the Greater East Asian Co-prosperity Sphere and Ferdinand Marcos’s dictatorial imposition of neoliberal programs in the Philippines, to the advertisement of the “Singapore model” and even China’s “century of humiliation,” which continues to vouchsafe its nationalist ressentiment. As Wang Hui’s analysis of the politics of imagining Asia has shown, visions of the Asian Century betray contradictory regionalist and nationalist ambitions that are held in focus by the apparatuses of the state and the culture industries. Thus Asian Century discourse is typically inflected by a nation or speaker’s position vis-a-vis key market and state brokers. Given that the meaning of “Asia” looks different depending on the vantage of Taiwan, Sri Lanka, Vietnam, or for that matter Saudi Arabia, what is the role of pan-Asian alliances and inter-Asian competition in constituting the Asian Century? Is Asia “one”—or only in the eyes of the West?

This special issue invites critical perspectives from scholars working in and across multiple languages and disciplines. We seek submissions that explore the Asian Century as idea, method, and media, and that examine its genealogies and itineraries from a range of contexts and histories, including of labor, empire, capital, war, technology, pandemics, dispossession, modernization, culture, and aesthetics. With “idea, method, and media,” we intend to inspire, but not circumscribe, the possible range of disciplinary approaches and primary sources that might be enlisted in responding to this call. Indeed, the idea of the Asian Century may very well be predicated on counter-articulations of its impossibility. While the Asian Century may appear at first as periodizing marker or geopolitical diagnostic, we propose that it can also be read across media and cultural forms, as an affective relation to the past, present, and future, as a structure of feeling, and as a visual and sensorial regime. Finally, in proposing the Asian Century as method, we seek to revisit and reimagine the interdisciplinary stakes of the longstanding conversation on “Asia as method.”

For example, what humanistic and social scientific methods can best track the concept’s intellectual and institutional emergence, circulation, and mediation, including well before the 21st century? How might regional Asian rivalries shape the supply chains and the capital flows of emerging trade blocs like the Regional Comprehensive Economic Partnership (RCEP) and the Trans-Pacific Partnership (TPP)? How have cultural production and intellectual exchange furnished the cognitive and affective frameworks for these blocs, and for Asian visions of global expansion like China’s “Belt and Road” initiative, South Korea’s cultural exports, and Taiwan’s advanced semiconductor industry? Given the increasing salience of the Asian Century as a concept for periodizing the contradictions of neoliberal capitalism, how might we trace its effects and iterations in and beyond political economy? What was the Asian Century, understood as visions and projections of Asia’s rise promoted by those who stood to benefit from such characterizations? What of the legacy and future of Third World decolonization and Indigenous struggles when Asian peripheries become, or have threatened to become, global powers? Rather than take for granted the rise of Asia as such, we seek to understand how and why Asia’s ostensible ascendance has seen not a lessening but rather a retrenchment of the conditions of planetary inequality.
Convergence Feature Proposals

One of Verge: Studies in Global Asias’ distinctive features is an opening section called Convergence, where we curate a rotating series of rubrics that emphasize collaborative intellectual engagement and exchange. Each issue features four of the following rubrics: A&Q, a responsive dialogue, either in interview or roundtable format, inspired by a set of questions; Codex, a collaborative discussion and assessment of books, films, or exhibits; Translation, for texts, primary or secondary, not yet available in English; Field Trip, reports from various subfields of the disciplines; Portfolio, commentaries on visual images; and Interface, texts exploring the resources of the print-digital world. We welcome those interested in these features to submit a Convergence proposal for the issue.

Proposals should be 1–2 pages in length and indicate what kind of feature is being proposed; demonstrate an awareness of the formats utilized by the journal; include an abstract and, if collaborative, a list of proposed contributors; and include a short (2 pg) cv.

The Convergence proposals deadline is September 8, 2023, however, we encourage those interested in submitting to contact co-editors about their ideas in advance of this date. Please direct all inquiries and submissions to verge@psu.edu.

Essay Submissions:

Essays (between 6,000–10,000 words) and abstracts (125 words) should be submitted electronically through this submission form by May 1, 2024 and prepared according to the author-date + bibliography format of the Chicago Manual of Style. See section 2.38 of the University of Minnesota Press style guide or chapter 15 of the Chicago Manual of Style Online for additional formatting information.

Authors’ names should not appear on manuscripts; instead, please include a separate document with the author’s name, address, institutional affiliations, and the title of the article with your electronic submission. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them; any necessary references to the author’s previous work, for example, should be in the third person.

Please direct all inquiries to verge@psu.edu.

Deadlines
  • Convergence proposals: September 8, 2023
  • Essays: May 1, 2024
A PDF of this call is available here. For questions, contact verge@psu.edu.

2023 LTI KOREA TRANSLATION AWARD FOR ASPIRING TRANSLATORS



for Aspiring Translators


2023 LTI Korea Translation Award for Aspiring Translators seeks to discover a new talent in Korean literary/cultural contents translation who will serve as a bridge between Korean and global literatures.

Target languages
  • Literature
    • English, French, German, Spanish, Russian, Chinese (Both Simplified and Traditional languages are available), Japanese, Vietnamese and Arabic
  • Webtoon
    • English, French, Spanish, Japanese and Vietnamese
  • Film
    • French, Spanish, Chinese(Only Simplified language), Japanese and Vietnamese

Eligibility

  • Literature
    • Applications are welcome from translators of all nationalities who have not yet received an official translation grant or published a translated work of Korean literature in their target language. (Applicants whose previous translations only appeared in LTI Korea Translation Academy and/or Translation Atelier collections are eligible for a literary translation category.)
  • Webtoon
    • Applications are welcome from translators of all nationalities who have not had more than one webtoon/webcomic translation published in either print or an online platform.
  • Film
    • Applications are welcome from translators of all nationalities who have not had more than one subtitle translation of a media content (films, TV dramas) released in theatres, film festivals, or through OTT services such as Netflix, Watcha, YouTube Originals, etc.
  • To be considered:
    • Co-translations are not accepted
    • Multiple applications are not allowed, and will be disqualified immediately. You can only apply for one language in one of the genres.
    • It is impossible for a previous winner to re-win the same genre.
    • Co-translation is not possible in all categories, and if plagiarism is confirmed, the award can be cancelled.
Settexts

1) Literature

2) Web-toon

3) Film


Prize:
  • One winner will be selected in each language category.
  • Each winner will be awarded 5,000,000 KRW and a plaque.

※ The prize for overseas residents includes a trip to Seoul (round-trip airfare and accommodation) to attend the award ceremony.


Requirements:
  • Application (Please download the application form from the website.)
  • Translation manuscript
  • Literature: PDF format
  • Webtoon and Film: Please download the form from the website.

※ Translate the entire text including the title.

※Personal information (your name, school, address, etc.) must not appear anywhere on thesubmitted manuscript.

※ Sign the application form and the consent form for personal information collection.


Applications and further inquiries are only accepted via email.
  • Literature: newtranslators@klti.or.kr
  • Webtoon and Film: mediatranslation@klti.or.kr
  • Application Period: June 1 ~ July 31(24:00 KST), 2023
  • Announcement of Results: The results will be announced in November, 2023 (All applicants will be notified individually.)

CFP: EDITED VOLUME "FAIRYTALE IN EAST ASIAN FASHION"


Fairytale in East Asian Fashion (edited collection)



We are soliciting chapter proposals for an edited collection on Fairytale in East Asian Fashion. Stories of yokai (Japan), yogoe (Korea), or yaoguai (China), such as “The Crane Wife” and “The Robe of Feathers,” manifest themselves everywhere in East Asian popular culture these days—from manga, anime / donghua / webtoons, and Pokémon, to fashion. One sees this phenomenon through brands such as Maison Kitsune, yokai-themed collections, street style, cosplay, and of course, traditional ethnic dress. Chapters may cover any fairytale or any fantastical creature that features strongly in Asian fairytale—baku, dokkaebi, kappa, kitsune / huli jing / gumiho, qilin, yuki onna, etc etc. Essays on Chinese and Japanese fashion are particularly needed, but essays on Southeast Asia are also quite welcome. (The editor is writing on yogoe fashion through K-Pop and K-Drama.)

Please send a brief c.v. and 150-200 word abstracts for 6,500 word chapters by June 30, 2023 to Amanda Sikarskie, Ph.D., asikarsk@umich.edu. Dr. Sikarskie is working with Frances Arnold, Acquisitions Editor at Bloomsbury. If selected, finished chapters will be due in early 2024.

CFP: AMODERN 12 "ALTERNATIVE PRINT TECHNOLOGIES AND REVOLUTION"



“Alternative Print Technologies and Revolution”,

AMODERN 12


What is the relationship of alternative print technologies to revolution? What revolutionary political opportunities and cultural imaginaries are made possible by non-typographic printing? In order to answer these questions, this CFP is interested in papers to join a special issue in Amodern on Alternative Print Technologies and Revolution that explores how non-typographic technologies have shaped cultural and political practices around the world. This special issue will expand upon Amodern‘s interdisciplinary focus on media, culture, and poetics by rethinking assumptions about the relationship of print to technological, political, and social revolution(s). In particular, we call for paper submissions that explore the dynamic interplay between revolution(s), broadly, construed, and non-typographic printing in those parts of the world where typographic printing was considered ill-suited to local writing systems and script cultures, including South Asia, East Asia, the Middle East, and North Africa. We are interested in papers that investigate the relationship of non-typographic publishing networks to revolution from the early modern era to the present and how alternative print technologies beyond typography challenge assumptions about mass print culture. In particular, we encourage submissions that explore how marginalized communities deploy print technology and graphic media in unexpected and subversive ways.

Scholars from Area Studies, Art History and Design, the History of Science and Technology, STS, Media Studies, History, Religious Studies, Anthropology, and Comparative Literature, among other fields, are welcome to apply. Scholars of all ranks are encouraged to apply. WE ENCOURAGE APPLICATIONS FROM EARLY-CAREER SCHOLARS (ABD PhD students through Assistant Professors).

Please send abstracts to:
  • tsmullaney@stanford.edu
  • amamstutz@ualr.edu
  • amodernjournal@gmail.edu
Edited by Thomas S. Mullaney and Andrew Amstutz

300-word proposals due: 31 March 2023

Drafts of 4000-8000 words due: 1 June 2023

CFP: 57TH ANNUAL COMPARATIVE WORLD LITERATURE CONFERENCE


“On Digital Pasts and Futures: New Perspectives in Literature, Technoculture, and Media”,

57th Annual Comparative World Literature Conference


Venue: California State University, Long Beach. Mainly in person with some Zoom participation.

Dates: Wednesday and Thursday, April 19 and 20, 2023


Keynote Speaker: Cassius Adair (Assistant Professor of Media Studies, The New School), “Reverse Engineering: From Trans Tech Histories to Radical Trans Futures.”

Technology and forms of expression continue to evolve in the digital age. What new frameworks have emerged to grasp, interpret, and challenge issues raised by these advancements? We invite conversation in and around digital humanities research and practice and other approaches that broadly explore “the digital.”

We welcome conversations on how past and present social contexts—i.e. the stresses of a global pandemic, structural racism, climate crisis, and anti-war and human rights struggles—have created new configurations of how we participate in, relate to, and are affected by technology, media, and various digital spaces. We also encourage explorations of how technology and technoculture upholds or challenges the status quo and other structures of exclusion and marginalization, and how digitally-informed inquiry can expose and subvert social inequities and systems of oppression.

Submissions for individual presentations and 90-minute sessions are welcome from all disciplines and global / historical contexts that engage with “the digital,” i.e. digital studies / humanities, new media studies, literary studies, critical race and ethnic studies, Indigenous studies, American Indian studies, Asian American studies, Black / African studies, Middle East / North African studies, Latinx and Chicanx studies, women and gender studies, disability studies, science and society studies, et al.

Possible proposals topics include, but are not limited to:
  • Digital humanities approaches to literature and cultural studies
  • Electronic literature, web-based narratives, and other forms of digital curation
  • Digital forms of journalism, protest / organizing, activism, and archives
  • Digital environmental humanities approaches to climate crisis and narratives
  • Ethnographic approaches to technological mediations and experiences
  • Online communities, social media platforms, identity making, and emerging forms of digital representation and art, i.e. NFT and crypto art markets
  • Reflection on the use of the digital in the diasporas: maintaining domestic space, sense of home and homeland in Asia and Africa; the use of the digital in maintaining cultural and historical homeland.
  • Intersections with racial and criminal justice; surveillance studies
  • Infrastructural and social inequities in technological access, digital cultures, and cyberspaces; anti-racist methodologies
  • Ethics of Big Data, A.I., coding, automation, etc.
  • Digital neo-colonialism and decolonization, Indigenous data sovereignty
  • Globalization, labor demand/markets, and inequity/exploitation in technological production
  • Feminism in Digital Spaces: use of the digital help in feminist coalitions across different spaces and nations; building movements via digital spaces
  • Cyberfeminist critiques, new approaches to cyborg theory
  • Queer digital cultures
  • Disability justice, access, technology, and media
  • Pedagogical approaches to digital humanities, digital literacy, and other multimodal practices and skills
  • Video games/gaming rhetorics, augmented reality, and simulation-based learning
  • New forms of media and digital storytelling, databases, and means of connectedness
  • Using the digital to preserve languages: digital spaces of translation; the conservation, circulation, production of digital media; using machines to translate; the digital futures of languages and literatures
  • Digital religion and spirituality: understanding religious or spiritual practices in a digital world
  • Digital archives: gatekeeping; what is lost in digitization
  • Digital dystopia
  • (Future) digital landscapes used / addressed / predicted in science fiction and speculative fiction
  • Social media representation in narratives: where the digital usurps the personal
  • Streamer culture and digital fandom
Proposals for 15-20 minute presentations should clearly explain the relationship of the panel or paper to the conference theme, describe the evidence to be examined, and offer tentative conclusions. Panel proposals should articulate how the panel fits into the conference theme. Abstracts should be no more than 300 words (not including optional bibliography). Please submit abstracts as a Word document in an email attachment to comparativeworldliterature@gmail.com

Please do not embed proposals in the text of the email. Make sure to indicate your mode of preference (Zoom or in person) for planning purposes.

The conference committee will review all proposals, on a rolling basis, until March 1, 2023.


comparativeworldliterature@gmail.com

Kathryn Chew

CFP: EDITED VOLUME FOR BLOOMSBURY SERIES IN ASIAN CELEBRITY AND FANDOM STUDIES


‘Star and Celebrity Branding within Asia: Using Comradery Capital’

edited volume for Bloomsbury Series in Asian Celebrity and Fandom Studies


The centrality of the celebrity commodity to the flow of cultural and economic capital in mediascapes has been explored by scholars such as Driessens and Marshall who note that celebrities are “manufactured by the celebrity industry” (Driessens, 2012, p. 643), and a mechanism to sell products. Marshall notes that the “celebrity as public individual who participates openly as a marketable commodity serves as a powerful type of legitimation of the political economic model of exchange and value – the basis of capitalism – and extends that model to include the individual (2014 [1997], p. xlviii).

In a recent publication, Celebrity Bromances (Routledge, 2022), we engage with the notion of the celebrity commodity, expanding Driessens’ celebrity capital to the dynamics of celebrity relationships. Driessens outlines how celebrities become part of the currency in a commodity culture, amassing capital that can be traded for profit to the benefit of the celebrity or affiliated products. Celebrities are therefore seen as cultural commodities (Marshall, 2014; Driessens, 2012, 2013); products of culture that contain value which can be traded for economic capital.

The commodification of celebrity interactions is a lens through which celebrity bromances are explored. We suggest that a “bromance capital” operates in contemporary celebrity culture, wherein the bromance is not only used as a tool to draw attention to individual celebrity figures. It also becomes a cultural “product” which gains value as a consequence of the affective attachments it provokes. Expanding the discussion beyond male homosocial intimacy, we also propose the concept of comradery capital, which is inclusive of group dynamics and functions across genders. Comradery capital refers to inherent value of the presentation of celebrity friendships and how these are utilised for the promotion of movies, television shows, charities, and products. The capital can fluctuate depending on levels of authenticity and how the relationship is performed.

While Celebrity Bromances explored some examples of comradery capital, these examples originated mostly from Hollywood celebrity culture. In our efforts to explore the operation of comradery capital, we wish to examine the various readings of comradery capital across countries in Asia. For example, The Avengers cast promotes their dynamic and films in interviews across Asian countries. Similarly, the way Gal Gadot and Chris Pine perform their friendship in the promotion of the Wonder Woman films or Chris Hemsworth and Tessa Thompson for Men In Black International.

We would like to capture cultures from around Asia including Japan, Korea, Dubai, Lebanon, India, China, Iran, Singapore, Pakistan, Malaysia, Israel and Indonesia. In examining the way comradery capital is performed and perceived in these various regions, the book would be able to capture the way in which celebrities vary their performances of friendship to take into account cultural differences of acceptable physical contact, understanding of language and slang, and the reading of sexuality and gender. It will also examine how comradery capital is a global promotional tool, breaking the barriers of communication.

We welcome contributions that focus on the political economy of comradery capital, as well as the affective/empowering dimensions of comradery capital, including fan and consumer relations.

We encourage interested authors to review definitions of bromance and comradery capital in Celebrity Bromances by accessing the open access chapters at the below links. We encourage an engagement with these concepts in abstracts submitted.


Chapter 5 – Beyond Bromances


Topics could include, but are not limited to:
  • Promotion of Hollywood films in Asian contexts
  • Reception of Hollywood cast dynamics in Asian contexts
  • The creation and presentation of cast dynamics in Asian contexts, including same and mixed gender (binary and non-binary) casts
  • The reception of regional cast dynamics in Asian contexts
  • Creation and reception of joint or group celebrity persona

Submission

Please send the following to the editors at: cjcelebrityresearch@gmail.com by April 1, 2023:
  • 300-word abstract
  • 100-word bio
  • 5-6 key words

Contact

cjcelebrityresearch@gmail.com


Anticipated timeline
If the proposal is accepted, full chapters would be expected by November 2023.

CFP: DIVERSE PERSPECTIVES WORKSHOP; BELONGING IN SOUTH AND NORTH KOREAN POPULAR CULTURE


Belonging in South and North Korean popular culture: diverse perspectives Workshop

Universität Hamburg, Asien-Afrika-Institut, Korean studies, August 30th-31st 2023


The categories of nation and nationalism have been major terms under which the construction of belonging has been explored, especially in earlier film studies. Looking at North and South Korean popular culture, the construction of a sense of belonging is diverse. While there have already been some contributions to gender or ideology and propaganda, other representations of the sense of belonging such as to region, nature, physical or social characteristics of communities are still scarce. The cause for diversity might also be based on the different development within the two states. What are the contexts to a certain sense of belonging? What are the modes of representation?

The conference can be attended on site or online. One night accommodation with half-board will be provided by the organiser. Selected papers will be published in a collected volume after the workshop.

Deadline for abstracts (200 – 300 words): February 15th 2023

For further requests, please contact Prof. Dr. Yvonne Schulz Zinda: yvonne.schulz.zinda@uni-hamburg.de

CFP: "CREATIVE KOREA: EXPLORING CONTEMPORARY KOREAN CULTURAL INDUSTRIES AND CULTURAL PRODUCTION" CONFERENCE


“Creative Korea: Exploring Contemporary Korean Cultural Industries

and Cultural Production” Conference


Conference Dates: 4 and 5 May 2023

Venue: Department of Arts, University of Bologna, Bologna (Italy)

Deadline for proposals: 29 January 2023

Result notification: 15 February 2023


In recent years, Korean cultural industries have established themselves as among the most dynamic and successful at the global level, both artistically and commercially. Supported by a series of worldwide successes, the Korean Wave has become one key example of non-Western cultural production that was able to engage global audiences, to influence the way in which they consume pop culture and to adapt to the transformative changes brought by new social and digital media technologies.

The conference will focus on exploring the different aspects of contemporary Korean cultural production, with an inter-disciplinary and multi-disciplinary perspective, including the many different sectors that compose the Korean Wave:
  • Film and TV Production
  • Music
  • Performing Arts
  • Visual Art
  • Comics and Graphic Novels
  • Webtoons
  • Animation
  • Videogames and E-Sports
  • Fashion and Food
The aim is to analyze the multiple factors that have made this growth possible, the specific characteristics of cultural industries and cultural production in Korea, the different influences that shaped this production, the socio-political and economic effects and impact of the spread of Korean cultural products both inside and outside Korea.

SUBMISSIONS should include an ABSTRACT (300 words) and a SHORT BIO (100 words) and be sent to CREATIVEKOREA2023@GMAIL.COM before 29 January 2023.

Proposals from PhD students, early career researchers and independent scholars are welcome.

Publication plan: at the end of the conference, we will look for an opportunity to publish an edited volume.

Enquiries can be directed to: Dr. Mary Lou Emberti Gialloreti, University of Bologna, marylou.emberti@unibo.it


The event is funded by the Academy of Korean Studies. (AKS-2021-INC-2230003)
Suscribirse a: Entradas (Atom)