Panel: Visualizing Diversity in Children's Literature
full name / name of organization:
Diversity Committee, Children's Literature Association
contact email:
lara.saguisag@csi.cuny.edu; mary.couzelis@morgan.edu
Call for Papers
Visualizing Diversity in Children’s Literature
Panel Sponsored by Children’s Literature Association Diversity Committee
2016 Children’s Literature Association Conference
The ChLA Diversity Committee seeks paper proposals for a panel on diversity and visual representation in children’s literature. Scholarship has increasingly become invested in examining and interrogating the ways the institution of children’s literature defines and practices diversity. This panel will specifically investigate how visual elements in children’s literature have been utilized in such definitions and practices. Papers may examine how visual-verbal narratives such as picturebooks, comics, graphic novels, photographic books, cartoons, and animated films define, approach, promote, conceal and/or ignore diversity; how tensions between visual and verbal modes create possibilities and problems in representing minority groups; how children's literature has attempted to make the marginalized and “invisible” visible; and how texts appropriate, complicate and/or repudiate visual caricatures of minority groups.
The Children’s Literature Association Conference will be held at Columbus, OH from June 9 to June 11, 2016.
For queries, please contact Mary Henderson Couzelis (mary.couzelis@morgan.edu) or Lara Saguisag (lara.saguisag@csi.cuny.edu). Email a 500-word abstract and a 2-page CV to Mary Henderson Couzelis (mary.couzelis@morgan.edu) by September 15, 2015.
By web submission at 07/20/2015 - 15:55
Wednesday, July 22, 2015
CFP Transitions 6 Comic Symposium London (7/31/2015;London 10/31/2015)
[UPDATE] Transitions 6 Comic Symposium London
http://call-for-papers.sas.upenn.edu/node/63061
full name / name of organization: Birkbeck, University of London
contact email: transitions.symposium@gmail.com
TRANSITIONS 6 – New Directions in Comics Studies 2015
Symposium – 31st October 2015, Birkbeck, University of London
Keynote: Dr. Mel Gibson (Northumbria University)
Respondent: Professor Roger Sabin (Central Saint Martins)
CALL FOR PAPERS
Deadline: 31st July 2015
We are pleased to announce the call for papers for the forthcoming 6th Transitions symposium, promoting new research and multi-disciplinary academic study of comics/ comix/ manga/ bande dessinée and other forms of sequential art. We welcome abstracts for twenty minute papers as well as proposals for panels.
Possible topics include but are not limited to:
text-oriented approaches – studies of key creators – historical and contemporary studies of production and circulation of comics – readerships and fan cultures – critical reception – formats, platforms and contexts – the (im)materiality of comics – archival concerns – formalist/narratological approaches – comics and aesthetics – adaptation, convergence and remediation – international iterations and transnational comics – children’s comics – political comics – comics and cultural theory – ideological/discursive critiques – web comics – graphic medicine – non-fiction comics – comics as historiography – comics practice and theory– cultural histories/geographies
Abstracts for twenty minute papers should be no more than 250 – 300 words. Proposals for papers and panels should be sent as Word documents, with a short biography appended, and submitted by the 31st July 2015 to Hallvard, John, Nina, and Tony at transitions.symposium@gmail.com.
By web submission at 07/20/2015 - 13:00
http://call-for-papers.sas.upenn.edu/node/63061
full name / name of organization: Birkbeck, University of London
contact email: transitions.symposium@gmail.com
TRANSITIONS 6 – New Directions in Comics Studies 2015
Symposium – 31st October 2015, Birkbeck, University of London
Keynote: Dr. Mel Gibson (Northumbria University)
Respondent: Professor Roger Sabin (Central Saint Martins)
CALL FOR PAPERS
Deadline: 31st July 2015
We are pleased to announce the call for papers for the forthcoming 6th Transitions symposium, promoting new research and multi-disciplinary academic study of comics/ comix/ manga/ bande dessinée and other forms of sequential art. We welcome abstracts for twenty minute papers as well as proposals for panels.
Possible topics include but are not limited to:
text-oriented approaches – studies of key creators – historical and contemporary studies of production and circulation of comics – readerships and fan cultures – critical reception – formats, platforms and contexts – the (im)materiality of comics – archival concerns – formalist/narratological approaches – comics and aesthetics – adaptation, convergence and remediation – international iterations and transnational comics – children’s comics – political comics – comics and cultural theory – ideological/discursive critiques – web comics – graphic medicine – non-fiction comics – comics as historiography – comics practice and theory– cultural histories/geographies
Abstracts for twenty minute papers should be no more than 250 – 300 words. Proposals for papers and panels should be sent as Word documents, with a short biography appended, and submitted by the 31st July 2015 to Hallvard, John, Nina, and Tony at transitions.symposium@gmail.com.
By web submission at 07/20/2015 - 13:00
Monday, July 20, 2015
CFP Sacred Texts and Comics: Religion, Faith, and Graphic Narratives (8/21/15)
Sounds like a worthwhile project:
CFP: Sacred Texts and Comics: Religion, Faith, and Graphic Narratives
https://networks.h-net.org/node/13784/discussions/73165/cfp-sacred-texts-and-comics-religion-faith-and-graphic-narratives
Discussion published by Assaf Gamzou on Tuesday, June 23, 2015
Ken Koltun-Fromm, Haverford College (kkoltunf@haverford.edu)
Assaf Gamzou, Israeli Cartoon Museum (assaf@cartoon.org.il)
Call for Papers
Sacred Texts and Comics: Religion, Faith, and Graphic Narratives
The last decade has produced critical and expressive studies in sacred canonical texts and comics. Witness, for example, the artistic works from R. Crumb’s The Book of Genesis (2009) and JT Waldman’s Megillat Esther (2005), as well as scholarly publications from Karline McLain’s India's Immortal Comic Books (2009), A. David Lewis’s edited volume Graven Images: Religion in Comic Books & Graphic Novels (2010), and Samantha Baskind’s and Ranen Omer-Sherman’s editorial work for The Jewish Graphic Novel: Critical Approaches (2010).
Sacred Texts and Comics: Religion, Faith, and Graphic Narratives is a proposed volume for the “Critical Approaches to Comics Artists” series at the University Press of Mississippi that builds upon, but also beyond, Western or “major” religious traditions to develop a broader landscape of religious graphic mediums. We encourage submissions that engage Islamic, Jewish, Christian, Hindu, Buddhist, Native American, African Diaspora traditions, or other religious communities from a variety of disciplinary or cross-disciplinary perspectives. Such critical approaches may include studies in religion, literature, theology, art history, culture, anthropology, political science, or other disciplines that work with the multi-dimensional features of graphic narratives.
Topics may include, but are not limited to:
Depictions of the sacred in comics.
The place of historical exegesis and critical, religious interpretation in graphic narratives.
Comics as a form and method of interpretation.
The ways in which the graphic, formal features engage notions of the sacred.
The modes by which graphic narratives represent the sacred or conceptions of religion.
The ways in which religious identity and belief are represented and explored in graphic mediums.
The multiple ways that visual culture informs religious practice.
Please send a 500-1000 word abstract, CV, and contact information to Ken Koltun-Fromm (kkoltunf@haverford.edu) and Assaf Gamzou (assaf@cartoon.org.il) by August 21, 2015. Haverford College will host a symposium on “Sacred Texts and Comics” on May 5th and 6th, 2016 that will include workshops for contributors to this proposed volume. Please indicate your interest in and availability to participate in the symposium (all expenses will be paid, including a small stipend).
CFP: Sacred Texts and Comics: Religion, Faith, and Graphic Narratives
https://networks.h-net.org/node/13784/discussions/73165/cfp-sacred-texts-and-comics-religion-faith-and-graphic-narratives
Discussion published by Assaf Gamzou on Tuesday, June 23, 2015
Ken Koltun-Fromm, Haverford College (kkoltunf@haverford.edu)
Assaf Gamzou, Israeli Cartoon Museum (assaf@cartoon.org.il)
Call for Papers
Sacred Texts and Comics: Religion, Faith, and Graphic Narratives
The last decade has produced critical and expressive studies in sacred canonical texts and comics. Witness, for example, the artistic works from R. Crumb’s The Book of Genesis (2009) and JT Waldman’s Megillat Esther (2005), as well as scholarly publications from Karline McLain’s India's Immortal Comic Books (2009), A. David Lewis’s edited volume Graven Images: Religion in Comic Books & Graphic Novels (2010), and Samantha Baskind’s and Ranen Omer-Sherman’s editorial work for The Jewish Graphic Novel: Critical Approaches (2010).
Sacred Texts and Comics: Religion, Faith, and Graphic Narratives is a proposed volume for the “Critical Approaches to Comics Artists” series at the University Press of Mississippi that builds upon, but also beyond, Western or “major” religious traditions to develop a broader landscape of religious graphic mediums. We encourage submissions that engage Islamic, Jewish, Christian, Hindu, Buddhist, Native American, African Diaspora traditions, or other religious communities from a variety of disciplinary or cross-disciplinary perspectives. Such critical approaches may include studies in religion, literature, theology, art history, culture, anthropology, political science, or other disciplines that work with the multi-dimensional features of graphic narratives.
Topics may include, but are not limited to:
Depictions of the sacred in comics.
The place of historical exegesis and critical, religious interpretation in graphic narratives.
Comics as a form and method of interpretation.
The ways in which the graphic, formal features engage notions of the sacred.
The modes by which graphic narratives represent the sacred or conceptions of religion.
The ways in which religious identity and belief are represented and explored in graphic mediums.
The multiple ways that visual culture informs religious practice.
Please send a 500-1000 word abstract, CV, and contact information to Ken Koltun-Fromm (kkoltunf@haverford.edu) and Assaf Gamzou (assaf@cartoon.org.il) by August 21, 2015. Haverford College will host a symposium on “Sacred Texts and Comics” on May 5th and 6th, 2016 that will include workshops for contributors to this proposed volume. Please indicate your interest in and availability to participate in the symposium (all expenses will be paid, including a small stipend).
CFP Race and Comics: The Politics of Representation in Sequential Art (9/30/15; NeMLA 2016)
CFP: Race and Comics: The Politics of Representation in Sequential Art | NeMLA 2016 (Abstract Submission Deadline: September 30, 2015)
https://networks.h-net.org/node/13784/discussions/75816/cfp-race-and-comics-politics-representation-sequential-art-nemla
Discussion published by Rafael Ponce-Cordero on Sunday, July 19, 2015
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: September 30, 2015
Location: Connecticut, United States
Subject Fields: Ethnic History / Studies, Political Science
This panel welcomes papers that examine the treatment of race and racial relations in comic books, whether in superhero narratives, graphic memoirs, web comics, or other forms of sequential art both inside and outside the United States. How are comics used to document and represent racialized identities? How have the medium and its surrounding fan communities adapted earlier content to speak to current topics?
Submit abstracts (300 words maximum) by September 30, 2015 to Session ID#15963 at https://www.cfplist.com/nemla/Home/S/15963
Comics have long been filled with depictions and discussions, overt or implied, of race and ethnicity. Racist portrayals persist, from Belgium’s Tintin to Mexico’s Memín, and in the U.S. not only in the so-called “darky” iconography of yore but in contemporary racist representations of the current President, even as an issue of Spider-Man guest-starring Barack Obama becomes one of the top-selling comic books. Comics have also provided spaces to explore social issues, as in Dennis O’Neil and Neal Adams’s breakthrough 1970s Green Lantern/Green Arrow series that examined structural racism. Diversity as well remains an important consideration in how comics provide not only a realistic view of race in the world but also a medium for authors to represent their own experiences related to racial identity. There is an ongoing (and controversial) trend of increasing diversity in superhero narratives by making some previously white characters non-white. Superhero teams such as the X-Men, throughout their history at times racially monotone or racially diverse, have nevertheless been read as allegories for civil rights battles by comparing bodies marked as different to racialized bodies. Fans produce their own content to identify racial diversity or its lack, whether at conventions such as Cosplaying While Black, or in academic discussions and museum gallery installations such as John Jenning’s Black Kirby, which “remixes” Jack Kirby’s superheroes to reflect topics relevant in African American studies and lives. And memoirs such as American Born Chinese, Persepolis, and The Absolutely True Diary of a Part-Time Indian explicitly address those subjects and how they consider racialized identities. With superheroes including Araña, Aztek, Black Panther, Luke Cage, Hiro Hamada, Karate Kid, Dr. Light, Miles Morales, Kyle Rayner, Red Wolf, Shadow Hero, Ohiyesa Smith, John Stewart, Storm, Vibe, and War Machine, it is clear that racial relations are an important concern for artists and readers of this medium.
In spring 2016, the Northeast Modern Language Association (NeMLA) will meet in Hartford, Connecticut, for its 47th Annual Convention. Every year, this event affords NeMLA’s principal opportunity to carry on a tradition of lively research and pedagogical exchange in language and literature. Please join us for this convention, which will feature approximately 400 sessions, dynamic speakers, and cultural events. Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable. Full information regarding the 2016 Call for Papers may be found on NeMLA's website: https://www.cfplist.com/nemla/Home/cfp
Contact Email: rponcecordero@keene.edu
URL: https://www.cfplist.com/nemla/Home/S/15963
https://networks.h-net.org/node/13784/discussions/75816/cfp-race-and-comics-politics-representation-sequential-art-nemla
Discussion published by Rafael Ponce-Cordero on Sunday, July 19, 2015
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: September 30, 2015
Location: Connecticut, United States
Subject Fields: Ethnic History / Studies, Political Science
This panel welcomes papers that examine the treatment of race and racial relations in comic books, whether in superhero narratives, graphic memoirs, web comics, or other forms of sequential art both inside and outside the United States. How are comics used to document and represent racialized identities? How have the medium and its surrounding fan communities adapted earlier content to speak to current topics?
Submit abstracts (300 words maximum) by September 30, 2015 to Session ID#15963 at https://www.cfplist.com/nemla/Home/S/15963
Comics have long been filled with depictions and discussions, overt or implied, of race and ethnicity. Racist portrayals persist, from Belgium’s Tintin to Mexico’s Memín, and in the U.S. not only in the so-called “darky” iconography of yore but in contemporary racist representations of the current President, even as an issue of Spider-Man guest-starring Barack Obama becomes one of the top-selling comic books. Comics have also provided spaces to explore social issues, as in Dennis O’Neil and Neal Adams’s breakthrough 1970s Green Lantern/Green Arrow series that examined structural racism. Diversity as well remains an important consideration in how comics provide not only a realistic view of race in the world but also a medium for authors to represent their own experiences related to racial identity. There is an ongoing (and controversial) trend of increasing diversity in superhero narratives by making some previously white characters non-white. Superhero teams such as the X-Men, throughout their history at times racially monotone or racially diverse, have nevertheless been read as allegories for civil rights battles by comparing bodies marked as different to racialized bodies. Fans produce their own content to identify racial diversity or its lack, whether at conventions such as Cosplaying While Black, or in academic discussions and museum gallery installations such as John Jenning’s Black Kirby, which “remixes” Jack Kirby’s superheroes to reflect topics relevant in African American studies and lives. And memoirs such as American Born Chinese, Persepolis, and The Absolutely True Diary of a Part-Time Indian explicitly address those subjects and how they consider racialized identities. With superheroes including Araña, Aztek, Black Panther, Luke Cage, Hiro Hamada, Karate Kid, Dr. Light, Miles Morales, Kyle Rayner, Red Wolf, Shadow Hero, Ohiyesa Smith, John Stewart, Storm, Vibe, and War Machine, it is clear that racial relations are an important concern for artists and readers of this medium.
In spring 2016, the Northeast Modern Language Association (NeMLA) will meet in Hartford, Connecticut, for its 47th Annual Convention. Every year, this event affords NeMLA’s principal opportunity to carry on a tradition of lively research and pedagogical exchange in language and literature. Please join us for this convention, which will feature approximately 400 sessions, dynamic speakers, and cultural events. Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable. Full information regarding the 2016 Call for Papers may be found on NeMLA's website: https://www.cfplist.com/nemla/Home/cfp
Contact Email: rponcecordero@keene.edu
URL: https://www.cfplist.com/nemla/Home/S/15963
CFP Marvel Cinematic Universe - Phase One (Update) (7/31/15)
CFP - Edited Collection on Marvel Cinematic Universe - Phase One
https://networks.h-net.org/node/13784/discussions/75807/cfp-edited-collection-marvel-cinematic-universe-phase-one
Discussion published by Kris Barton on Sunday, July 19, 2015
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: July 31, 2015
Location: United States
Subject Fields: Film and Film History, Cultural History / Studies
As one of the biggest and most successful film franchises of all time, Marvel’s approach to developing an interconnected film universe has seemingly revolutionized the way superhero films are being made. Creating a shared universe with elements that crossover and interconnect individual films (culminating in perhaps the ultimate “team-up” film, The Avengers), this approach to filmmaking changed the way characters and storylines are developed. Marvel’s foresight has resulted in a long-term plan for the Marvel Cinematic Universe (MCU), which at this point consists of three distinct phases.
With that said, there has been relatively little exploration of how this approach to filmmaking affects both the stories being told and the way they are being consumed by audiences. This collection seeks to investigate these issues, but in a way that mirrors the approach that Marvel has laid out for its properties. To that end, this edited collection is the first in a proposed trilogy of books, each volume of which will explore a distinct phase of the MCU and dissect how the characters evolve, how storylines grow, and how the success of the franchise continually expands the scope of the stories being told. Specifically, this proposed collection will look at Phase One of the MCU, which is comprised of the following films:
Iron Man (2008)
The Incredible Hulk (2008)
Iron Man 2 (2010)
Thor (2011)
Captain America: The First Avenger (2011)
The Avengers (2012)
While a number of chapters have already been completed for this collection, we are still looking specifically for the following:
1. Hawkeye/Black Widow – How do the non-super powered Avengers fit into the MCU? Are their roles different given they lack any paranormal enhancements?
2. Villains – What role/function do the villains of Phase One play in the MCU and/or how are the depicted?
3. Franchise building – How has the MCU shaped other comic book properties’ approach to film narrative (DC, X-Men) or other properties in general?
4. Linkages – A general look at how different elements of the MCU (Tesseract, Nick Fury, Coulson, S.H.I.E.L.D.) are used to bridge films and create a cohesive cinematic universe.
5. A limited number of other topics will be considered. Please e-mail with questions regarding topics not listed above.
Please note: the chapters contained in the collection will focus exclusively on events in Phase One of the MCU, so discussion of development or events from subsequent films should be avoided.
Chapters should be 5,000-7,000 words (MLA format, no footnotes or endnotes please) that fit into one of the above sections. Article abstracts (500+ words) and a brief CV should be submitted by July 31, 2015 to Dr. Kristin Barton at kmbarton@daltonstate.edu. Submissions with detailed outlines or in draft form will be given stronger consideration. Completed essays must be submitted by September 30, 2015. Brief queries are welcome should there be questions about appropriate submission topics. Selected authors will be notified by August 2015, and please note that invitation to submit a full essay does not guarantee inclusion in the volume. A contract for this book through a university press is pending a review of proposed chapters.
Contact Info:
Kristin M. Barton
Chair and Associate Professor
Dalton State College
Contact Email: kmbarton@daltonstate.edu
https://networks.h-net.org/node/13784/discussions/75807/cfp-edited-collection-marvel-cinematic-universe-phase-one
Discussion published by Kris Barton on Sunday, July 19, 2015
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: July 31, 2015
Location: United States
Subject Fields: Film and Film History, Cultural History / Studies
As one of the biggest and most successful film franchises of all time, Marvel’s approach to developing an interconnected film universe has seemingly revolutionized the way superhero films are being made. Creating a shared universe with elements that crossover and interconnect individual films (culminating in perhaps the ultimate “team-up” film, The Avengers), this approach to filmmaking changed the way characters and storylines are developed. Marvel’s foresight has resulted in a long-term plan for the Marvel Cinematic Universe (MCU), which at this point consists of three distinct phases.
With that said, there has been relatively little exploration of how this approach to filmmaking affects both the stories being told and the way they are being consumed by audiences. This collection seeks to investigate these issues, but in a way that mirrors the approach that Marvel has laid out for its properties. To that end, this edited collection is the first in a proposed trilogy of books, each volume of which will explore a distinct phase of the MCU and dissect how the characters evolve, how storylines grow, and how the success of the franchise continually expands the scope of the stories being told. Specifically, this proposed collection will look at Phase One of the MCU, which is comprised of the following films:
Iron Man (2008)
The Incredible Hulk (2008)
Iron Man 2 (2010)
Thor (2011)
Captain America: The First Avenger (2011)
The Avengers (2012)
While a number of chapters have already been completed for this collection, we are still looking specifically for the following:
1. Hawkeye/Black Widow – How do the non-super powered Avengers fit into the MCU? Are their roles different given they lack any paranormal enhancements?
2. Villains – What role/function do the villains of Phase One play in the MCU and/or how are the depicted?
3. Franchise building – How has the MCU shaped other comic book properties’ approach to film narrative (DC, X-Men) or other properties in general?
4. Linkages – A general look at how different elements of the MCU (Tesseract, Nick Fury, Coulson, S.H.I.E.L.D.) are used to bridge films and create a cohesive cinematic universe.
5. A limited number of other topics will be considered. Please e-mail with questions regarding topics not listed above.
Please note: the chapters contained in the collection will focus exclusively on events in Phase One of the MCU, so discussion of development or events from subsequent films should be avoided.
Chapters should be 5,000-7,000 words (MLA format, no footnotes or endnotes please) that fit into one of the above sections. Article abstracts (500+ words) and a brief CV should be submitted by July 31, 2015 to Dr. Kristin Barton at kmbarton@daltonstate.edu. Submissions with detailed outlines or in draft form will be given stronger consideration. Completed essays must be submitted by September 30, 2015. Brief queries are welcome should there be questions about appropriate submission topics. Selected authors will be notified by August 2015, and please note that invitation to submit a full essay does not guarantee inclusion in the volume. A contract for this book through a university press is pending a review of proposed chapters.
Contact Info:
Kristin M. Barton
Chair and Associate Professor
Dalton State College
Contact Email: kmbarton@daltonstate.edu
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