Essays on Pokémon Go

Seeking Essays on Pokémon Go

updated:
Thursday, June 8, 2017 – 6:06pm
Kristopher Purzycki
deadline for submissions:
Sunday, August 13, 2017
In July of 2016, Niantic Inc. released Pokémon Go in the United States to unanticipated public interest. In one of the hottest summers on record, millions took to the streets to search for charmanders and dragonites, overwhelming both servers and public spaces. While interest in the mobile application has subsided, Pokémon Go remains a cultural artifact that demands further analysis. Opening conversations on public and civic rhetorics through play, the phenomenon of this simple game exposes critical intersections of race, gender, ability, and class as technological concerns over access, privacy, and privilege.

from UPennCFPs

CFP: Life Writing, Women and Ageing

“Women and Ageing: Private Meaning, Social Lives” – Special Issue of Life Writing (journal)

deadline for submissions:
September 30, 2017
full name / name of organization:
Guest editors: Dr Margaret O’Neill (UL); Dr Michaela Schrage-Frueh (NUIG)
contact email:
[email protected]

The editors of this Special Issue of Life Writing seek original articles on aspects of women and ageing as related to life writing. Submissions may take the form of academic articles or critically informed reflective essays. Contributions might focus on all forms of life writing, including older women’s diaries, journals, memoirs, letters, autobiography, biography as well as digital forms of life writing.

Essays should be 7,000-8,000 words, including all quotations and bibliographic references. Each article should have an abstract of about 200 words and four or five keywords. The form of referencing should follow MLA guidelines, and authors should use endnotes rather than footnotes. Please submit your essay, or send any queries, to [email protected]

from UPennCFPs

CFP: Nasty Women in Popular Culture

Nasty Women in Popular Culture

deadline for submissions:
August 1, 2017
full name / name of organization:
Dr Alexia L. Bowler/ Swansea University
contact email:
[email protected]

CFP: Nasty Women in Popular Culture

Editors: Dr Alexia L. Bowler, Dr Adele Jones & Dr Claire O’Callaghan

Donald Trump’s now infamous phrase ‘such a nasty woman’, uttered about his then rival Hillary Rodham Clinton in the 2016 U.S. presidential debates, was rudely used to patronise and belittle Clinton, who is known for being a strong, independent (and feminist) politician.

In reality, Trump is not the only figure to characterise today’s women in this manner. Indeed, the alt-right commentator and Trump supporter, Milo Yiannopoulos, argues that feminism is ‘a cancer’ and suggests that fixing the so-called online gender wars is merely a matter of women exiting public space. Similarly, in the ‘community beliefs’ section of his Return of the Kings site, the neo-masculinist, self-styled pick-up artist and infamous internet misogynist, Roosh V, suggests that the elimination of traditional sex and gender roles increases female promiscuity and diminishes the rightful centrality of the nuclear family, for which he blames, among other things, women and feminism.

Nonetheless, in a demonstration of the power of the internet, the phrase was rapidly taken up (and continues to be used) by social media as a rallying cry for feminists, women’s rights groups and their supporters. The result of Trump’s comment was a spectacular subversion of his attempts to discredit Clinton and marginalise women’s voices. Alongside existing feminist slogans such as the Fawcett Society’s ‘this is what a feminist looks like’ and Laura Bates’s the #everydaysexism project, the ‘nasty woman’ slogan has gone viral; used in Twitter hashtags, on a range of merchandise, and as memes. It has inspired poems, theatre, exhibitions, music and collected responses, as well as sparked political activism, visible in the global Women’s Marches that took place across the globe in 2017 at which banners celebrating feminist ‘nastiness’ could be seen: ‘Stay Nasty’, ‘The Future is Nasty’, and ‘I am a Nasty Woman’

Alongside this, the rise in visibility of strong, complex and vocal women in popular media, including television and film, suggests that the time of the ‘nasty woman’ is not over but about to begin. This collection will interrogate and contribute to this ongoing debate by bringing together new scholarship focusing on the idea of the ‘nasty woman’, and the embrace of this label, in late 20th and 21st century popular media and culture. The collection will ask how can we best theorise ‘the nasty woman’? What characterises or who is the ‘nasty woman’ and where can we find her? Is her central characteristic anger, strength, crudity, power, or all of these things? Finally, it will consider the question of whether she bears responsibility for others and what, if anything, makes her different to previous iterations of the arguably feminist female figure?

The collection will both celebrate and problematise the application and endorsement of the term, considering recent debates, responses and trends in popular culture and feminist scholarship.

We seek contributions that engage with the notion of the ‘nasty woman’ in all forms of media (including recent film and television) and popular culture in late 20th and 21st century sex and gender politics.

Possible topics could include but are by no means limited to:

Theorising the ‘nasty woman’
Television and Film (e.g. Furiosa in Mad Max: Fury Road, Claire Underwood in House of Cards, Waller-Bridge’s Fleabag)
Relationship with other feminist movements such as ‘this is what a feminist looks like’ movement and everyday sexism projects, among others
Nasty women and bad language
The ‘nasty woman’ of comedy (e.g. Amy Schumer, Melissa McCarthy, Tina Fey, Amy Poehler, Sharon Horgan, Phoebe Waller-Bridge)
Nasty women of pop (e.g. Madonna, Lady Gaga, Miley Cyrus)
Nasty women of fashion, TV, film, theatre, gaming
Nasty women of history as viewed by contemporary culture
Issues of responsibility and shared identity
Politics, the media and the nasty woman
Controversial commentators and the idea of the nasty woman (e.g. Roosh V, Milo Yiannopoulos, Katie Hopkins, Ann Coulter, Camille Pagilia)
Nasty women in different global contexts
Please address any enquiries and expressions of interest to the editors, Dr Alexia L. Bowler ([email protected]), Dr Adele Jones ([email protected]), and Dr Claire O’Callaghan ([email protected]).

Abstracts of 500-600 words, for chapters of between 6,000-7,500 words, along with a short biographical note, should be emailed to both editors by 1st August 2017. Successful proposals will be notified by 1st September 2017. Completed chapters will be due by 31st January 2018.

A full proposal will be submitted to I.B. Tauris’s Library of Gender and Popular Culture series in autumn 2017.

from UPennCFPs

CFP: Children and Pop Culture

Children and Popular Culture

deadline for submissions:
December 1, 2017
full name / name of organization:
Global Studies of Childhood
contact email:
[email protected]
CFP: Global Studies of Childhood

Special Issue: Children and Popular Culture

Guest Editor: Patrick Cox, Rutgers University

Childhood and youth are always contested notions, but perhaps nowhere more than in popular culture. Popular culture offers representations of children and youth as, among other things, wise, dangerous, evil, innocent, sexual, doomed, and in various states of “in progress.” Popular culture is also the broad site of much child agency, where children and youth produce texts from novels to YouTube channels to websites, blogs, and zines, frequently outstripping their adult contemporaries in technological savvy and communicative capability. Popular culture for children is by turns condescending to the youngest audience, crass, pedantic, and appropriated by adults for their own pleasure. Elements of popular culture are designed to educate and socialize children; others are manipulated by children as political activism. These turns call into question and trouble conceptions not only of “the child” but of “popular culture” itself and propose a compelling nexus of questions befitting both Childhood Studies and Popular Culture Studies.

In this special issue, authors are invited to consider intersections of popular culture by, for, and about childhood, both broadly construed. We will explore both the impacts of popular culture on youth and childhood and the very real impacts of children and youth on popular culture. All disciplinary approaches are welcome, including but not limited to textual and visual analysis, ethnographic work, studies of children’s popular material culture, historical readings, comparative analysis of texts, and consumer and communication studies.

Additionally, contemplations of the interstices between Childhood Studies and Popular Culture Studies as academic endeavors are encouraged. The two fields have been in limited conversation with one another, perhaps separated by epistemological and methodological concerns, yet the available data seems like a rich vein for insight. While both fields are multi-disciplinary and continuously evolving, Childhood Studies maintains very clear traces of its roots in social sciences, while Popular Culture Studies is still found more often housed in the Humanities. The two fields each have at their center subjects that have at times made it difficult for them to be taken seriously as sites of academic inquiry. With different questions at their core, how can the two fields interact? Put another way, how do we study this multitude of texts?

Topics for this special issue might include:

Popular culture and education, whether intentional or inadvertent;
Children’s popular culture as grown-up nostalgia;
Youth vs. adult perspectives on popular culture;
Children and youth as producers of popular culture;
New media as empowering or oppressive;
Capabilities for communication and interconnectivity;
Adult consumption of children’s popular culture;
Children’s consumption of decades-old popular culture;
Definitions of youth in popular culture;
Nostalgia through revivals and reboots;
Social media;
Diminishing space between children’s and adult popular culture.

The guest editor welcomes submissions of articles via the journal submission system on its SAGE Publishing site. See “Submission Guidelines” here: https://us.sagepub.com/en-us/nam/journal/global-studies-childhood#description.

Deadline for submissions: December 1, 2017.

Please send any queries to guest editor Patrick Cox at [email protected]

from UPennCFPs

CFP: Trump, Rhetoric, and Twitter

President Donald Trump and his Political Discourse: Ramifications of Rhetoric via Twitter

deadline for submissions:
June 25, 2017
full name / name of organization:
Michele Lockhart
contact email:
[email protected]
Call for Proposals

President Donald Trump and his Political Discourse: Ramifications of Rhetoric via Twitter

Michele Lockhart seeks contributors for her fourth collection of essays, which analyzes a segment of language used by the 45th President of the United States, Donald John Trump.

Having published three co-edited collections, Political Women: Language and Leadership (September, 2013), Global Women Leaders: Studies in Feminist Political Rhetoric (September, 2014), and Hillary Rodham Clinton and the 2016 Election: Her Political and Social Discourse (November, 2015), she is shifting her focus from the language used by women in politics and leadership positions to examine how various audiences are instantaneously affected, for better or worse, by President Trump’s rhetoric via Twitter.

The book, tentatively entitled President Donald Trump and his Political Discourse: Ramifications of Rhetoric via Twitter, will demonstrate the ways in which the following areas have been the subject of President Trump’s tweets:

International & U.S. Relations; Government Affairs
Economies and Financial Markets
Industries
Media & “Fake News”
Marginalized Groups
Tangible effects and post-tweet evidence should be included and explicit. Qualitative-quantitative analyses of these chapters should focus exclusively on language via Twitter; analytics and visualization tools for both the text and Twitter trends are encouraged. While the collection will focus primarily on President Trump’s rhetoric as president, a broader lens may be used to capture pre-presidential language shifts and/or patterns of tweets.

Chapters should delve into the psychology of the speaker (or writer, in this case), which may consider personality traits, socialization, and/or cognitive performance. The interdisciplinary approach lends itself to: rhetoric; political rhetoric; political discourse; leadership studies; psychology; neurolinguistics; computational linguistics; media; international relations; sociology.

Proposals of approximately 300 words must be submitted no later than June 25, 2017, but acceptance into the collection will be based on completed essays of approximately 20-25 double-spaced pages submitted no later than September 24, 2017. Include contact information, previous publications, and academic affiliation, if any. Please title the e-mail subject line of the proposal “Trump Tweets” when e-mailing the proposal.

CFP Released: May 20, 2017

Deadline for Proposals: June 25, 2017

Notification will be no later than July 2, 2017

First Complete Draft due: September 24, 2017

Various Draft Revisions: October 15 through December 3, 2017

Final Draft due: January 14, 2018

Estimated publication date: June 2018

Prospective contributors may send proposals to:

[email protected]

Michele Lockhart, Ph.D.

from UPennCFPs

CFP on Rhetoric

Reading and Writing in the Twenty-First-Century Literary Studies Classroom: Theory and Practice

deadline for submissions:
February 3, 2017
full name / name of organization:
University of Queensland
contact email:
[email protected]
Reading and Writing in the Twenty-First-Century Literary Studies Classroom: Theory and Practice

The University of Queensland

Brisbane, Australia

6-8 July 2017

Deadline for submissions: 3 February 2017

Contact for general queries: Judith Seaboyer [email protected]

Confirmed speakers:

Dr David Aldridge, Oxford Brookes University

Dr Tully Barnett, Flinders University

Professor Helen Sword, University of Auckland

Please send 250-word proposals for papers, panels, or workshops by 3 February 2017 to [email protected] with the subject line Reading and Writing cfp.

This broad-ranging conference will assume good reading and its concomitant good writing to be essential both to the mastery of disciplinary content and to the transformative potential of an education in literary studies. To that end we seek papers that consider reading and writing from a range of perspectives, practical and theoretical. What are the challenges, difficulties, and pleasures for students and teachers? What strategies and techniques encourage timely compliance with course reading requirements and foster critically engaged, well-argued responses? What critical theories model critique in the twenty-first-century classroom, and what might be, as Rita Felski has recently asked, the limits of that critique? Reading that is active and thus potentially critical, ethical, creative, hospitable, transformative—and pleasurable—may be intrinsic to disciplinary knowledge, but how do we help students acquire the skills needed to de-code complex texts and respond to them?

And what effects are twenty-first-century technologies/modes of knowledge production and dissemination having on how as well as what students do and don’t read? What are the intersections and tensions between digital and traditional ways of reading and writing? Does constant hyperlinking, as Naomi Baron, Nicholas Carr and others have suggested, undermine the brain’s capacity to focus in order to process long-form text? How might we foster what neuroscientist and literacy researcher Maryanne Wolf has termed bi-literacy, the capacity to shift between, and indeed to distinguish between, two kinds of activities: the efficient reading-for-information that involves scanning, clicking, linking and the “slow and meditative possession of a book” literary scholar and essayist Sven Birkerts has termed “deep reading”? What platforms do your students use for reading and writing? In what ways is technology changing student drafting, reviewing, and response to feedback?

Finally, what texts and what kinds of texts and what theories of reading and writing are core in an increasingly marketised university in which non-vocational degrees are increasingly marginalised? And how might an education that fosters an imaginative, thoughtful, hospitable, adaptable citizenry, give students an edge in a job market in crisis?

Some starting points:

How do we empower our students to write “with passion, with skill, with courage, and with style”? (Helen Sword, Stylish Academic Writing)
How do we test the invisible activity that is reading?
What kinds of assessment best develop reading and/or writing skills? Tests or writing or a blend of both?
What texts and what genres do we choose to teach, and why?
Do we encourage our students to be surface or symptomatic readers? Is what Paul Ricoeur termed a “hermeneutics of suspicion” “a mandatory injunction [or] a possibility among other possibilities”? (Eve Kosofsky Sedgwick).
How much are we influenced by outside forces? How are programs shaped by shrinking budgets combined with the massification of tertiary education? And what influence do debates such as the one over trigger warnings have on how and what we teach, and on student learning?
Can literature, or literary criticism, effect change? What work can texts perform? For example, can literature, as Martha Nussbaum insists, “[cultivate] powers of imagination that are essential to citizenship”? Or is this a consolatory fiction, as Suzanne Keen suggests?
How do we evaluate reading? What assumptions about taste cultures, cultural competences, and the ethics of engagement with texts are embedded in the ways we model, teach, and assess student reading?
What are the affordances of technologies? How are they changing the way students read and write? How do we help students to makes sense of and benefit most from a range of platforms for both activities?
As workloads and the ratio of students to instructors increase, can technology encourage better student reading and writing?
How might we foster bi-literacy?
What might be the repercussions, pedagogical and financial, of online education, including MOOCs, for reading and writing in literary studies?
Do long-form reading and/or writing remain important skills?
What are the effects of shifts from solitary to online social reading?
What cognitive differences occur when reading and writing take place on digital rather than traditional platforms?
Is there a link between complex critical reading skills and better writing?
Full-time enrolment by part-time students: How might we inspire students to immerse themselves in reading and writing about their discipline in the face of day-to-day time constraints, genuine and perceived, and the awareness that it’s possible to scrape a passing grade while having read very little?
Can good reading and writing skills give our students an edge on the job market? And how do we, and our students, sell those critical skills?
https://communication-arts.uq.edu.au/article/2016/08/reading-and-writing-twenty-first-century-literary-studies-classroom-theory-and-practice

From UPenn

CFP: Rhetoric

From UPenn

CFP: The Profession

deadline for submissions:
July 6, 2019
full name / name of organization:
Intermezzo
contact email:
[email protected]

CFP: The Profession

Intermezzo, a digital longform publication – http://intermezzo.enculturation.net/ – seeks submissions that deal with rhetoric and rhetoric and composition as a profession.

Profession, the MLA’s dedicated publication to issues regarding professionalization in Modern Languages and Literatures, has long served the field regarding discussion of professional issues. While Profession has published work on rhetoric and rhetoric and composition, the focus of the journal is not dedicated to these areas. And while rhetoric and rhetoric and composition journals publish articles on professional matters, no publication is dedicated to the profession in a focused manner. Rhetoric and rhetoric and composition journals do not have the space to devote to only professional discussions. Intermezzo is interested in providing a dedicated space for such discussions. Submissions can be co-authored or co-edited but should include multiple voices. While there is no obligation to produce more than one collection, we hope this will become an annual series.

Intermezzo seeks 20-40,000 word volumes that explore professional issues relevant to rhetoric and rhetoric and composition: hiring, tenure, writing as a writing professional, bureaucracy, budgetary issues, general education pressures, marginalization, becoming a department or independent program, developing majors and minors, being department or program heads, policy debates, rhetoric and rhetoric and composition’s place in the Humanities curriculum, and other related topics. Submissions can include video, image visualizations, graphics, or other non-print forms of expression.

We are particularly interested in essays from a variety of professional backgrounds: professors, administrators, lecturers, and adjuncts. We are also interested in essays which take advantage of organizational strategies print publications might not publish.

All essays published with Intermezzo undergo peer review. Intermezzo is committed to providing an outlet for essays too long for journal publication, but too short for monograph publication. Essays are published as open source, are registered with the Library of Congress, and receive ISBN numbers. They may include multimedia as well.

Intermezzo is meant to be a venue where writers can produce scholarly work in unique ways, outside of institutional or disciplinary expectation, and it takes advantage of digital media as a platform for both content and distribution of timely topics.

Intermezzo accepts longform essays on a rolling submission basis, with no deadlines.

Please submit submissions, abstracts, or queries to

Jeff Rice
Series Editor
[email protected]

CFP: Lois McMaster Bujold’s Works

[UPDATE] CFP: Biology and Manners: The Worlds of Lois McMaster Bujold. Abstracts due 8 Jan 2016.
full name / name of organization:
Dr. Una McCormack and Dr. Regina Yung Lee
contact email:
[email protected]; [email protected]
Call for Papers:

Potential contributors are invited to submit an abstract for a chapter for inclusion in a forthcoming edited volume on the works of Lois McMaster Bujold.

This volume, arising from an inter-disciplinary conference held in Cambridge in August 2014, will explore the works of Hugo and Nebula Award winning writer Lois McMaster Bujold, encompassing both her science fiction and her fantasy novels.

Abstracts are particularly welcome that address issues related to any of the following theoretical perspectives or themes related to the works of Lois McMaster Bujold:

• Disability studies in the Vorkosigan or Chalion series
• Analyses addressing Gentleman Jole and the Red Queen, especially in comparison with Barrayar
• The Sharing Knife as an example of North American future studies
• American Literature or Critical Race Studies analyses of the Sharing Knife tetralogy
• Subjectivity and multiplicity through possession (e.g. The Hallowed Hunt, “Penric’s Demon,” etc.)
• Racial politics in the Sharing Knife tetralogy
• Masculinity and race in Chalion
• Reproductive politics in the Vorkosigan series
• Inter-series comparative papers
• Readings that draw connections to Dorothy L. Sayers, the Brontës, and Georgette Heyer

Please submit 500-word abstracts for essays of a projected length of 5000 words by 8 Jan 2016. Abstracts should be submitted to the editors, Dr Una McCormack and Dr Regina Yung Lee.

Emails should be entitled Biology and Manners: Abstract, and should contain the following information:
a) Author, affiliation, title of abstract, body of abstract
b) A cv of no more than 2 pages.

Contacts:
Dr Una McCormack
Department of English, Communication, Film and Media, Anglia Ruskin University, UK
[email protected]

Dr Regina Yung Lee
Department of Gender, Women and Sexuality Studies, University of Washington
[email protected]

CFP: Teaching Graphic Novels?

Teaching Graphic Novels in English and Literature Courses
full name / name of organization:
Dr. Alissa Burger
contact email:
[email protected]
In the last couple of decades, comics and graphic novels have made their way into a wide variety of classrooms, from science to the humanities. As Robert G. Weiner and Carrye Kay Syma argue in ‘Graphic Novels and Comics in the Classroom: Essays on the Educational Power of Sequential Art,’ “It is no longer a question of whether sequential art should be used in educational settings, but rather how to use it and for what purpose” (1).

This collection aims to highlight the diverse ways comics and graphic novels are used in English and literature classrooms, whether to develop critical thinking or writing skills, paired with a more traditional text, or as literature in their own right. From fictional stories to non-fiction works such as biography/memoir, history, or critical textbooks (such as Elizabeth Losh, Jonathan Alexander, Kevin Cannon, and Xander Cannon’s ‘Understanding Rhetoric: A Graphic Guide to Writing’), graphic narratives provide students a new way to look at the course material and the world around them. Graphic novels have been widely and successfully incorporated into composition and creative writing classes, introductory literature surveys, and upper-level literature seminars, and present unique opportunities for engaging students’ multiple literacies and critical thinking skills, as well as providing a way to connect to the terminology and theoretical framework of the larger disciplines of rhetoric, writing, and literature.

Possible topics include, but are not limited to, using graphic narratives:
• To develop students’ visual literacy and critical thinking skills
• As a starting point for critical or creative writing and reflection
• Paired with a more traditional text to present a familiar/classic story in a new format, such as Classical Comics’ Shakespeare series or Fiona Macdonald and Penko Gelev’s graphic novel adaptation of Homer’s ‘The Odyssey’
• As key standalone texts for the application of literary terminology and analysis
• To engage with varying perspectives of race, nationality, class, gender, or sexual orientation

Proposals are welcome addressing the incorporation of graphic novels in any level or type of English or literature class and should focus on a specific text or set of texts, the use of these works in the class, and the benefits to student learning.

Abstracts of proposed essays (500 words) and a brief CV should be submitted as Word attachments to Dr. Alissa Burger ([email protected]) by February 1, 2016.

I am particularly interested in this as I have taught using graphic novels and I am hoping to teach a graduate rhetoric course on the visual fall of 2017.

CFP: Comics and Pop Culture

Denver Comic Con’s Page 23 LitCon
full name / name of organization:
Denver Comic Con’s Page 23 LitCon
contact email:
[email protected]
Call for Papers, Panels, and Presentations

Page 23 LitCon
June 17-19, 2016

500-word abstracts for papers, panels, and roundtables offering a critical approach on comics and pop culture are being accepted for a scholarly conference at
DENVER COMIC CON

DENVER, CO June 17-19, 2016

Now in its fifth year, Denver Comic Con’s Page 23 LitCon seeks abstracts from all disciplinary and theoretical perspectives related to not only comics and graphic novels, but also gaming, television and film, anime, action figure studies—any pop culture topic is welcome!

We’re especially interested in:
• Presentations examining the 75th anniversary of Wonder Woman
• Presentations and panels on Superstar Comic Creators of the 70s, 80s, and 90s, including guests of Denver Comic Con 2016
• Panels centered on pop culture pedagogy, aimed at current teachers at all levels
• Presentations and panels considering comics and culture, including representations of race, treatment of disability, women who changed the comics and pop culture industries of TV and movies, etc.

As Denver Comic Con attracts a wide range of guests, we will do our best to connect comics creators with scholarly presentations about their work. Editorial, interdisciplinary, and creative proposals are also welcome, along with traditional academic papers. Multimedia equipment will be available to all presenters, and we encourage and prefer visually engaging presentations. Page 23 LitCon has no registration fee and acceptance includes a three-day pass to Denver Comic Con.

Please email abstracts and a brief personal statement to [email protected] by March 1st, 2016

From UPenn.