CFP: ASIAN POPULAR CULTURE AND THE GOTHIC

Asian Popular Culture and the Gothic

Chulalongkorn University

Article proposals are welcome for an upcoming collection on Asian Popular Culture and the Gothic, edited by Li-hsin Hsu, Deimantas Valančiūnas and Katarzyna Ancuta. The collection is planned for submission to the Routledge Advances in Popular Culture Studies series.

Popular culture is often described as “the culture of the people,” containing cultural elements related to objects, beliefs, and practices that embody shared social meanings, and regularly produced for and consumed by mass audiences. As an object of investigation, it is mostly conceived of as a study of cultural products and media, such as literature, film, television, radio, games, comics, digital media, or fashion, that have mass accessibility and appeal. In today’s globalised world, more than ever, popular culture is increasingly diverse, expansive, dynamic, mobile, and often transnational, regardless of its point of origin.

In their introduction to the special Asian issue of The Journal of Popular Culture, published in 2016, Lisa Funnel and Yuya Kuchi remonstrate that in popular and critical imagination, “Asian Popular Culture” tends to be limited to selected East Asian genres and media, such as Japanese manga and anime, or Chinese martial arts films (2016, p. 963). Today we can safely add Korean music and television drama to this list but this does not quite change the fact that while we have seen dozens of publications focused on East Asian pop culture, large areas of popular Asian cultural production remain routinely excluded from scholarly examinations. While South Asian popular culture studies are a relatively vibrant discipline, even if the investigation here tends to be focused mostly on India and rarely goes beyond the study of popular cinema, Southeast Asian pop culture, in contrast, has so far received very limited attention, with studies examining the impact of “Japanisation” or Korean wave outshining those on local production. The field of Asian popular culture and its connection to the Gothic remains also an under-examined area.

Recent scholarship on the Gothic has extended the analysis of cultural production beyond the usual references to literature and cinema, and often includes a variety of media forms and practices of public/popular culture, such as television, video games, music, fashion etc. The term has also transcended not only its generic and historical, but also geographical boundaries, becoming a truly transnational phenomenon. The contemporary Gothic manifests in a variety of media forms way beyond the European or American contexts, and the appearance of Asia in the Gothic-related debates is not an oddity anymore. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions from diverse geographical locations, and the willingness to accept Asian Gothic as a legitimate category has rapidly increased with most edited collections and companions now carrying at least one chapter discussing Asian texts and contexts.

Asia has long been regarded as a vital hub of production and consumption of popular culture, with an extensive variety and spectrum of media forms and topics. However, the Gothic aspect of popular culture of Asia has not been addressed in a systematic and extensive way. Therefore, this collection for the first time invites papers to explore the ways Gothic manifests in popular culture and its consumption in Asia. By the term “popular culture” we imply both a variety of media forms of everyday consumption – video and digital games, comic books, television, music etc., as well as forms of everyday public culture and practices, associated with festivals, fashion, rituals, ceremonies etc. We also invite papers that explore the issues of knowledge production and cultural reception in Asia, rethinking the social and political role the Gothic might play in the circulation and transmission of popular culture in an Asian context, and how Asian popular culture might redefine or reshape the Gothic mode / aesthetics as we know it.

We invite proposals that consider the Gothic not as a fixed western-centred generic category, but as a fluid and shifting conceptual framework through which distinctive local cultural practices, historical and social traumas, anxieties, collective violent histories and diverse belief systems are expressed and discussed. In this sense, the Gothic can be read as a distinctive aesthetical and narrative practice, where conventional gothic tropes and imagery (monsters, ghosts, haunting, obscurity, darkness, madness etc.) are assessed anew, and disseminated and consumed through the many forms of popular culture. We also encourage approaches that rethink the affective power of the Gothic, and how its heterogeneous, transmedia, transcultural and transnational complexity is manifested in Asian contexts.

We are interested in examining a number of broader issues highlighting the appropriation of Gothic tropes and conventions in popular culture texts that engage with representations of colonial legacy, wars, conflicts, and historical trauma, gender / class / race issues and various forms of social critique. We would like to encourage the examination of the relationship between popular Asian Gothic texts and the audience / the marketplace, as well as the contexts of production and reception of such texts. We are keen on receiving proposals exploring the connection between Asian Pop Gothic and authorship / celebrity culture and possible political contexts related to the use of popular Gothic themes and motifs, for instance in relation to propaganda and censorship.

Below is a list of themes the edited collection is willing to address. It is not an exhaustive list and is intended as a guide, not as a set of limitations. We welcome suggestions and proposals on related topics and various media forms.

• Gothic/Horror elements in B-movies and popular cinema (e.g., HK Cat III movies, Ramsay Brothers horror films, Japanese splatterpunk and tokusatsu eiga)

• Popular Asian gangster films (e.g., the Japanese yakuza/ninkyo films, HK Triad films, or Korean kkangpae films)

• Horror comedies / comic Gothic

• Gothic/Horror elements in popular / pulp fiction (e.g., supernatural romances, light novels)

• Popular Asian crime fiction (e.g., honkaku and henkaku mysteries, or gong’an crime-case fiction.

• Asian horror television series and game shows

• Serial killer television series

• Mediums, shamans and ghost detectives in supernatural crime procedurals

• Gothic cyberpunk / post-human in manga and anime

• Eco-Gothic approaches to manga and anime

• Horror comics in Asia

• Asian ghosts and monsters in popular culture

• Sentimentalism and sensationalism in Asian ghost story

• Asian pop culture adaptations of Gothic texts (e.g., Dracula in Asian texts, Japanese reworkings on Chinese zhiguai, Rebecca in India)

• Vampires in Asian music videos

• Visual Kei and post-punk / Goth music

• Gothic/Horror elements in Asian heavy metal music

• Gothic/Horror and gaming cultures

• Survival video games and survival game films and TV shows

• Horror-themed RPGs and ARGs inspired by Asian folklore

• Gothic/Horror themes in user-generated fiction and Internet-based lore

• Ghosts, curses and viral videos

• Ghost-hunting and paranormal radio broadcasts / podcasts

• Gothic/Horror in popular theatre (e.g., kabuki plays, likay, Chinese/Taiwanese opera, Tamasha, Jatra)

• Gothic/Horror in puppet theatre (e.g., budaixi, nang yai, wayang kulit, kathputli)

• Gothic traditions and (religious) festivals

• Asian Gothic folklore and urban lore

• Ghost storytelling and oral lore

• Asian Horror fandom and audiences

• Gothic Lolitas and Gothic cosplay

• Asian Goth subcultures / Gothic fashion

• Gothic/Horror-themed merchandise

• Gothic/Horror-themed attractions (e.g., haunted houses, amusement parks, escape rooms)

• Ghost tours and dark tourism

• Gothic media personalities / TV and radio hosts

Proposals of approx. 300 words accompanied with a short biographical note of max. 150 words should be sent to the editors at asianpopgothic@gmail.com by 31 October 2022.

Contact email: kancuta@gmail.com

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CFP: MEDICAL CULTURE IN EAST ASIAN CINEMA AND MEDIA

Call for Abstracts:

Edited Volume on Medical Culture in East Asian Cinema and Media

The current COVID-19 global pandemic has inspired renewed attention to the intersection between public health and mass media. With constant media updates of case counts, healthcare guidelines, and preventive strategies, among other public health communications, the boundaries of various imagined communities have been newly established or strongly reinforced. The complex cultural and geopolitical region of East Asia, in particular, has become a center of media attention, following wide circulation of essentialized cultural norms (such as collectivity and uniformity), stereotypical accounts of hygiene habits, racialized discourses surrounding the East Asian bodies, and techno-orientalist narratives of East Asian use of digital means for disease tracing and control. Both personal and public health outcomes thus have become inextricably intertwined with processes of representation and (re)mediation, while the pandemic itself has become a media event inseparable from various audiovisual forms. We are therefore living a historical moment that demands reflection on the precarious socio-political structures revealed through audiovisual media, including health care access and its relation to class, gender, and ethnic hierarchies.

Our edited volume seeks to contextualize such discussions in light of larger historical narratives regarding 20th and 21st century East Asia, with audiovisual media serving as our primary object of study. We welcome submissions that consider medical culture in relation to cinema and media culture in the East Asian context. We understand “medical culture” as a bio-cultural concept that encompasses not only scientific knowledge and practice but also such cultural domains as aesthetics, ethics, politics, and public policy. Some questions that concern us include: How does historical practice of health (in)justice, mediated by audiovisual media, inform our contemporary understandings of public health crises? How can audiovisual media disseminate information about the historical transformation of public health policies and facilitate collaboration and mutual understanding  across local, national, and regional sectors in East Asia? How might East Asian case studies highlight the convergence of film and media theory with the medical humanities?

We invite submission of paper proposals on topics that may include but are not limited to the following. We especially welcome contributions that focus on Japan, South Korea, North Korea, and transregional East Asia.

• traditional and modern medicines

• personal hygiene, environmental sanitation, and ecological criticism

• diseases caused by pollution, climate change, and environmental violence

• medical theory and practice in relation to colonialism/decolonization and racism

• medical science and technology (x-ray, microfilm, etc)

• educational/scientific film, medical image-making

• physical or mental therapy in/as media

• medical institutions and practitioners, health care systems

• medical practice in rural areas, distribution of medical resources

• pandemics/epidemics

• food and diet

• disabilities and neurodiversity

• the cult of youth and anxiety over aging

• gender, sexuality, and medical culture

We plan to propose the edited volume to Hong Kong University Press for publication in their Crossings: Asian Cinema and Media Culture series. All submissions should be based on original research and not under consideration for publication elsewhere.

Deadlines for submission

Please send your working title, institutional affiliation, abstract (of no more than 500 words), and short bio to eastasianmedicinebook@gmail.com by April 1st, 2021. The editorial team will notify selected proposals by April 30th, 2021. The deadline for first draft submission (between 7000 and 8000 words) is December 1st, 2021.

Editors: Ling Zhang (SUNY Purchase College), Yuqian Yan (Washington University in St. Louis), and Pao-chen Tang (University of Manchester).

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CFP: ZOMBIES OF THE FUTURE: THE UNDEAD IN THE 21ST CENTURY AND BEYOND

Zombies of the Future:

The Undead in the 21st Century and Beyond. 

Zombies seemed to have shambled into something of a literal “dead end.” With something of an eternal return to similar tropes and similar readings on their way to inevitable apocalypse. But this collection wants to “breath” new life into old undead bodies and focus solely on texts from the past 10 years or those that have used the zombie in unusual and previously unconsidered ways. Consequently this collection will be focused on 4 specific areas:

• The zombie beyond the zombie (post-zombie zombies)

• Zombies and new media, e.g. Tik Tok, streaming, gaming etc.

• Cross cultural zombies—Indigenous, Aboriginal, Indian, African, South Korea etc.

• Futuristic zombies—zombie bodies in fantasy, sci-fi and visions of what’s to come.

This concerns popular culture in its widest interpretation books, films, games, comics, music, theatre, ballet, performance, art, fashion, etc.

Send 300 words abstracts or expressions of interest to Simon Bacon (baconetti@googlemail.com) by February 28th 2021, with final essays of 6-7,000 words required mid-2023. Bloomsbury Academic has expressed interest in the collection.

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CASA ASIA ENCUENTRO ONLINE SOBRE CINE COREANO

Casa Asia

Encuentro online sobre cine coreano

Los Encuentros sobre cine asiático surgen ante la necesidad de replantear la manera de llegar a nuestros públicos de forma no presencial ante el aplazamiento del Asian Film Festival Barcelona 2020 (AFFBCN) en su formato presencial, entendiéndose como un espacio de encuentro y debate en el ámbito del cine. El AFFBCN cumple este año su octava edición como certamen especializado en cine asiático y Casa Asia ha querido organizar estos encuentros, con expertos en este ámbito, para ofrecer al público una inmersión total antes de la reanudación del festival en las salas de cine.

En esta primera sesión de los Encuentros de cine asiático, contaremos con la participación de Roberto Cueto, miembro del Comité de Selección del Festival de Cine de San Sebastián, donde ejerce como delegado de Corea del Sur, y Ángel Sala, director del SITGES Festival International de cine Fantàstic de Catalunya, los cuales nos ofrecerán perspectivas complementarias sobre el panorama del cine coreano actual.

Este encuentro se realiza en el marco del 70 aniversario de las relaciones diplomáticas entre España y Corea y, además, estas sesiones se plantean ante la necesidad de llegar al público del Asian Film Festival Barcelona. En este encuentro, Roberto Cueto y Ángel Sala hablarán sobre los éxitos de taquilla surcoreanos: Oldboy (Park Chan-wook, 2003), The Host (Bong Joon-ho, 2007), Train to Busan (Yeon Sang-ho, 2016), Burning (Lee Chang-dong, 2018) y Parásitos (Bong Joon-ho, 2019). Las aportaciones de estos cineastas han supuesto una presencia inédita del cine coreano en el mercado nacional e internacional, y los ponentes tratarán de reflejar los cambios que se han producido en la industria y en su aceptación.

Roberto Cueto (Madrid, 1965) es profesor de Comunicación Audiovisual en la Universidad Carlos III de Madrid, miembro del Comité de Selección del Festival de Cine de San Sebastián, donde ejerce como delgado de Corea del Sur, y miembro del Consejo de Redacción de la revista Caimán Cuadernos de Cine. Es autor de varios libros de temas cinematográficos como: Cien bandas sonoras en la historia del cine (1996), Drácula: de Transilvania a Hollywood (1997), El lenguaje invisible: Entrevistas con compositores del cine español (2003), Arrebato… 25 años después (2006), Otras miradas de Carlos Saura (2009) y 62 Donostia Zinemaldia (2014). Además, ha sido colaborador de los volúmenes: Seúl Express: La renovación del cine coreano (2004), Nuevo cine coreano (2007), Asia Noir: Serie negra al estilo oriental (2007) o Japón en negro: Cine policíaco japonés (2008). Ha sido asesor y redactor de textos en Cine Coreano-Arco 2007, en el marco de la Feria de Arte Contemporáneo ARCO, y ha sido nombrado Korean Culture Supporter 2016 por el Centro Cultural Coreano en España, con el que colabora habitualmente.

Ángel Sala (Barcelona, 1964) es director, guionista, crítico de cine y el actual director del SITGES Festival International de cine Fantàstic de Catalunya desde 2001 hasta el momento actual. Se licenció en Derecho por la Universidad de Zaragoza, pero no tardó en dedicarse a la crítica cinematográfica. Además de colaborar en diferentes revistas y periódicos, como el Periódico de Catalunya o como asesor de programación cinematográfica en TV3, ha escrito más de treinta libros entre los que cabe destacar los siguientes títulos: Cine fantástico y de terror alemán. 1913-1927 (2005), Universo Lynch (2006), El demonio en el cine (2007), American Gothic. El cine de terror USA. 1968-1980 (2007), El cine de ciencia ficción. Explorando mundos (2008) o Profanando el sueño de los muertos: Una historia oculta del cine fantástico español (2010). No obstante, además de crítico de cine también ha sido guionista de películas como Rottweiler (2004), Beneath the Still Waters (2004) y Nunca he estado en Poughkeepsie (2013), que también dirigió.

Ponentes:

Roberto Cueto, miembro del Comité de Selección del Festival de Cine de San Sebastián.

Ángel Sala, director del SITGES Festival International de cine Fantàstic de Catalunya.

Moderadora:

Menene Gras Balaguer, directora de Cultura y Exposiciones de Casa Asia.

Detalles:

• Fecha: Martes 24 de noviembre a las 19.00 h. Inscripciones abiertas.

• Online. 24 horas antes del acto las personas inscritas recibirán la información necesaria para acceder.

• Precio: Actividad gratuita.

• Organiza: Casa Asia.

• Reserva aquí.

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CFP: AUDIOVISUAL TRANSLATION IN THE AGE OF STREAMING, SPECIAL ISSUE OF TARGERT

Audiovisual Translation in the Age of Streaming,

Special issue of Targert (vol. 35, 2023)

This special issue will investigate the role of translation in the rapidly changing and developing environment of global media streaming. While there have been calls to ‘recenter globalization’ since the early 2000s (e.g. Iwabuchi 2002), since the late 2000s the development of streaming media has effectively disrupted older linear flow patterns of film and media distribution and consumption. There is now globally more access in translation to what had been marginalised cultures in the global media ecology, such as South Korea, Taiwan, Thailand and Nigeria. In turn, these so-called marginalised cultures in the global media ecology, which had been previously largely dominated by Hollywood, now enjoy wider access in translation to media cultures which had been much less explored or ignored in their home cultures: Korean audiences having a greater access to Danish, German, and Spanish media, for instance. Streaming service platforms turned content creators such as Amazon, Netflix and Rakuten Viki are in the process of overturning previous understandings of the global mediasphere and accelerating the dynamics of the media landscape, enabling contraflow of media content and de/recentering understandings of global media production. Increasingly invested in international services, streaming companies’ practices fragment, deconstruct and reconfigure media space.

Video streaming sites such as Youtube, where original content is also distributed, contribute to this refashioning of media distribution and reception and further complicate the relationship between translator, content provider and creator.  Yet the process is not limited to disruptive new companies: established multinational media and technology companies such as Disney and Apple have recently launched new streaming services, suggesting that the field is in a constant process of reconfiguration as different agents emerge, rise to power or struggle to hold market share. The effect of the Covid-19 pandemic has yet to be fully understood, but streaming has been a significant part of people’s media consumption during lockdown, and is expected to precipitate pronounced reconfiguration of the contemporary global media ecosystem. While there is a growing body of work on streaming from media studies (Dixon 2013; Smith and Telang 2016; Johnson 2018; Lobato 2019; Pallister 2019), there has been considerably less research on the relationship between translation and streaming (with the exceptions of Dwyer 2017; Pedersen 2018).

Translation is central to these recent disruptions of the media field, as streaming providers offer most media content in translated versions, be it dubbed or subtitled, propelling the cultural mobility of media content across national and linguistic borders. Netflix, for example, functions as a particularly disruptive force by offering an ever wider range of genres and non-English language series tailored to specific groups of people around the world (Barker and Wiatrowski 2017), to the extent that it supported more than 20 languages by 2017 and approached “an inflection point where English won’t be the primary viewing experience on Netflix” (Netflix 2017). Not all translations on streaming platforms are official, and there continue to be thriving fan translation cultures on streaming platforms such as Youtube and Viki which offer access to media between what Casanova (1999) calls ‘dominated’ cultures, as well as between ‘dominating’ and ‘dominated’ cultures. This increasing fluidity is having a significant effect on Anglosphere understandings of world media, which had previously seen ‘foreign’ film and TV as elite, highbrow productions but now, especially through streaming platforms and fansubbing, more popular media such as Korean soap operas or Chinese teenage TV dramas are becoming widely available. As such, Eurocentric notions of popular media (Shohat and Stam 1994) need rethinking to take into account the increasing circulation of media products from around the world and the shifting balances of soft power (Nye 2004) related to the streaming of media content. How, for instance, does access to Chinese soap operas in translation affect the image of China in the world and its soft power? How does streaming invert and alter previous hierarchies? At the same time, the massive abundance of available media around the globe is creating a scarcity of attention and affecting a new attention ecology (Citton 2017) which risks ‘dominated’ languages and cultures being overlooked in the sheer quantity of ‘dominating’ language production. How then do streaming and translation filter media for consumers? Are streaming services and video sites reinforcing, or challenging, existing inequalities of access and distribution through curation and selection of languages to translate into? What effect is this having on the dominance of ‘global’ English? Importantly, how does the curation of media content through translation and streaming promote or silence communities such as the LGBT community, the Deaf or ethnic minorities? It is not a given that access to media from many different nations will be representative of the diversity within those nations. How do notions of alterity change in globalised media?

The topic of translation and streaming, then, has significant relationships not only with language and contemporary media consumption, but also soft power and global understandings of alterity. This special issue aims to explore the role of translation in the streaming epoch, especially in relation to the shifting definition of ‘peripheral/dominated’ and ‘central/dominating’ media producing cultures. We welcome contributions critically addressing translation (understood broadly) in the global media environment that has been created in relation to streaming and on demand services. Topics of interest include, but are not limited to:

• Video streaming giants (e.g. Netflix, Amazon) and translation

• Transnational and translational co-productions for international streaming

• Shifting notions of centre/dominant and periphery/dominated and ways of retheorising the position of cultures in the current media ecology

• Streaming, translation and the asymmetrical media environment

• Minoritised groups in translation and streaming media

• Translation as a form of curation of media

• Economies of attention, digital distribution and translation

• Shadow economies of media translation and their effects on global circulation

• South-South or other ‘dominated-dominated’ translation practices (i.e. that do not pass through ‘dominant’ languages) for popular media

Please send any queries to the special issue editors, Jinsil CHOI (diane45@kmu.ac.kr), Jonathan EVANS (jonathan.e.evans@glasgow.ac.uk) and Kyung Hye KIM (kyunghye.kim@sjtu.edu.cn). The deadline for abstracts (400-500 words) is 1 February 2021, to be submitted to the special issue editors.

References:

Barker, Cory and Myc Wiatrowski (eds) 2017. The Age of Netflix: Critical Essays on Streaming Media, Digital Delivery and Instant Access. Jefferson, NC: McFarland & Company, Inc.

Casanova, Pascale. 1999. La République mondiale des lettres. Paris: Seuil.

Citton, Yves. 2017. The Ecology of Attention (trans. Barnaby Norman). Cambridge: Polity.

Dixon, Mason Wheeler. 2013. Streaming: Novels, Movies and Instant Access. Lexington: University of Kentucky Press.

Dwyer, Tessa. 2017. Speaking in Subtitles: Revaluing Screen Translation. Edinburgh: Edinburgh University Press.

Iwabuchi, Koichi. 2002. Recentering Globlization: Popular culture and Japanese transnationalism. Durham, NC: Duke University Press.

Johnson, Derek (ed.). 2018. From networks to Netflix: a guide to changing channels. New York: Routledge.

Lobato, Ramon. 2019. Netflix Nations: The Geography of Digital Distribution. New York: New York University Press.

Netflix. 2017. “Netflix is Looking for the Best Translators Around the Globe”, https://media.netflix.com/en/company-blog/netflix-is-looking-for-the-best-translators-around-the-globe (accessed 18 April 2020).

Nye, Joseph S. Jr. 2004. Soft Power: The Means to Success in World Politics. New York: Public Affairs.

Pallister, Kathryn (ed.). 2019. Netflix Nostalgia: Streaming the Past on Demand. Lanham, MD: Lexington Books.

Pedersen, Jan. 2018. “From old tricks to Netflix: how local are interlingual subtitling norms for streamed television?” Journal of Audiovisual Translation 1(1), 81-100. http://www.jatjournal.org/index.php/jat/article/view/46/5

Shohat, Ella and Robert Stam. 1994. Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge.

Smith, Michael D. and Rahul Telang. 2016. Streaming, Stealing, Sharing: Big data and the future of entertainment. Cambridge, MA: MIT Press.

Timeline

Submission of abstracts (400-500 words): 1 February 2021

Acceptance of abstracts: 1 March 2021

Submission of full manuscripts: 1 September 2021

Decisions to authors: 1 February 2022

Revised manuscripts due: 1 August 2022

Final version of papers to journal from guest editors: 1 October 2022

Publication of special issue: Summer 2023

Guest editor bios:

Jinsil Choi is Assistant Professor, Keimyung University, South Korea. Her research interests include corpus-based translation, pre-modern Korea in translation, and subtitles and film ratings in Korea. She is now working on a monograph, entitled Government Translation in South Korea: A Corpus Based Study, to be published by Routledge in 2020.

Kyung Hye Kim is Lecturer in Translation Studies at the School of Foreign Languages, Shanghai Jiao Tong University and an Honorary Associate Director of the Baker Centre for Translation and Intercultural Studies at Shanghai International Studies University, China. Her academic interests lie in corpus-based translation studies, retranslation, and critical discourse analysis.

Jonathan Evans is Senior Lecturer in Translation Studies at the University of Glasgow, Scotland, UK. He is the author of The Many Voices of Lydia Davis (2016) and co-editor of The Routledge Handbook of Translation and Politics (2018). His academic interests lie in the circulation of media and non-hegemonic ideas.

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CFP: MONOGRAPHS OR EDITED VOLUMES FOR OUR NEW SERIES IN EAST ASIAN STUDIES

Call for papers; Vernon Press

Monographs or Edited Volumes for our new Series in East Asian Studies

Vernon Press invites book proposals for edited volumes, co-authored books and single-author monographs on East Asian Studies, with an interdisciplinary outlook.

Generally described as the subregion in Asia comprised by North Korea, South Korea, Japan, China, Macao, Mongolia, Hong Kong, and China, East Asia has always fascinated the Western world. The history, culture, art, and literature—to name but a few—of this area have been consistently studied in academic circles for many generations, frequently in departments called East Asian Languages and Cultures (EALC). However, and in recent decades, new outlooks have emerged to study these aspects and many others related to East Asia, especially in the wake of Edward Said’s essential Orientalism (1978). The interest in this region and its study can also be observed by the increasing number of East Asian Studies programmes in universities all around the world.

This series will be of interest to scholars and students as well as independent researchers with an interest in East Asian studies from an interdisciplinary perspective.

Possible contributions include (but are not limited to):

• Literary interpretations of East Asian countries
• Cultural studies on the region
• East Asian American literary studies
• East Asian representation in media
• Rediscovering and rewriting East Asian history
• Forgotten East Asian women
• Sociological studies on the region
• East Asian archaeology

How to submit your proposal

Please submit one-page monograph proposals to submissions@vernonpress.com or victoria.echegaray@vernonpress.com, including a summary, a short biographical note and (if applicable) a list of similar titles. Proposals that treat other topics of relevance to the series in Irish Studies are also welcome. More information on what we look for in a proposal is available on our website.

Deadline: September 15, 2020.

About the publisher

Vernon Press is an independent publisher of scholarly books in the social sciences and humanities. We work closely with authors, academic associations, distributors, and library information specialists to identify and develop high quality, high impact titles.

Contact Info:

Victoria Echegaray

Vernon Press

Contact Email: victoria.echegaray@vernonpress.com

URL.

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CFP: NORTH KOREAN STUDIES. INSTITUTE OF MEDITERRANEAN AND ORIENTAL CULTURES - POLISH ACADEMY OF SCIENCES

Call for Papers. North Korean Studies

Institute of Mediterranean and Oriental Cultures,

Polish Academy of Sciences

General Issues:

Acta Asiatica Varsoviensia (AAV), an academic journal published by the Institute of Mediterranean and Oriental Cultures of the Polish Academy of Sciences and by the Cultivate Foundation. AAV is an annual research journal, publishing scientific texts in the fields of humanities and social sciences, particularly in the disciplines of cultural studies, philosophy, political science, sociology, and religious studies in the framework of Asian Studies.

AAV editorial board is delighted to invite you to submit your contributions for the 2019 issue.

The issue nr 32 will be devoted to North Korean studies.

Reseachers have the opportunity to submit academic articles which should pertain to issues related to North Korea and be rooted in the social sciences or humanities.

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