dimanche 29 juin 2008
publishing opp
From: "Imre Szeman" Subject: [cultstud-l] Cultural Spaces (Book Series)To: g-csacont@mcmaster.ca, ,, Message-ID: Content-Type: text/plain; charset="ISO-8859-1" CULTURAL SPACES / University of Toronto Press CULTURAL SPACES is a book series that explores the rapidly changingtemporal, spatial, and theoretical boundaries of contemporary culturalstudies. Culture has long been understood as the force that defines anddelimits societies in fixed spaces. The recent intensification ofglobalizing processes, however, has meant that it is no longer possible– if it ever was – to imagine the world as a collection of autonomous,monadic spaces, whether these are imagined as localities, nations,regions within nations, or cultures demarcated by region or nation. Theaim of this interdisciplinary series is to publish bold new analysesand theories of the spaces of culture, as well as investigations of thehistorical construction of those cultural spaces that have influencedthe shape of the contemporary world. Series editors: Richard Cavell (University of British Columbia), JasminHabib (University of Waterloo) and Imre Szeman (McMaster University). Book proposals and manuscript submissions welcomed. Please contact: Siobhan McMenemy, smcmenemy@utpress.utoronto.ca, (416)978-2239 x231 For more information about the series, visit:http://www.utppublishing.com/pubstore/merchant.ihtml?id=58&step=2. Books in the Series: - Peter Ives, Gramsci’s Politics of Language: Engaging the BakhtinCircle and the Frankfurt School - Sarah Brophy, Witnessing AIDS: Writing, Testimony, and the Work ofMourning - Shane Gunster, Capitalizing on Culture: Critical Theory for CulturalStudies - Jasmin Habib, Israel, Diaspora, and the Routes of National Belonging - Serra Tinic, On Location: Canada’s Television Industry in a GlobalMarket - Evelyn Ruppert, The Moral Economy of Cities: Shaping Good Citizens - Mark Coté, Richard Day, and Greig de Peuter, eds, Utopian Pedagogy:Radical Experiments Against Neoliberal Globalization - Michael McKinnie, City Stages: Theatre and Urban Space in a GlobalCity - David Jefferess, Postcolonial Resistance: Culture, Liberation, andTransformation - Mary Gallagher, ed., World Writing: Poetics, Ethics, andGlobalization (forthcoming) - Maureen Moynagh, Political Tourism and Its Texts (forthcoming) Editors:Richard Cavell: rcavell@interchange.ubc.caJasmin Habib: jhabib@uwaterloo.caImre Szeman: szeman@mcmaster.ca Editorial Advisory Board:Lauren Berlant, University of ChicagoHomi K. Bhabha, Harvard UniversityHazel V. Carby, Yale UniversityRichard Day, Queen’s UniversityChristopher Gittings, University of Western OntarioLawrence Grossberg, University of North CarolinaMark Kingwell, University of TorontoHeather Murray, University of TorontoElspeth Probyn, University of SydneyRinaldo Walcott, OISE/University of Toronto
vendredi 20 juin 2008
Crossroads 2008 in Jamaica
Well, for those willing to have an eye on my research, I'll be presenting a paper at Crossroads 2008 in Jamaica. Needless to say, the apprentice work + MBA + participation @ a student orchestra did not leave me a lot of time for research...
So, the paper is entitled "Watching TV makes sense". About the emergence of a possible public sphere in East Asia through the consumption of Asian TV programs...
Still have a week to write the paper ;)
Here's the outline from UMAT conf. Any comments are welcome ;)
Watching television makes sense
The consumption of Asian television programs in Asia: a forthcoming sign of an epistemic community in Asia
Ubiquitous media, Asian transformations
Public sphere in Asia
Aska Monty, iCAT (Institute for Communication Arts and Technology), Hallym University
Introduction
a phenomenon dating back to the 1980s 1990s preceded by the consumption of mainly Western programs
the consumption of Asian programs as “foreign programs in Asia translates/echoes/reflects technological changes in Asia, the emergence and confirmation of audiovisual powers, as producers of soft power and cultural contents, better designed for an Asian audience
Asian consumption: a two-fold phenomenon
a negative response to the Western media imperialism
a positive answer towards a multi-polar power system in Asia
Public sphere, epistemic community
Different stages of the formation and gathering of Asian people
from the grass root level of consumption to the political/utopian level of polity constitution
Why study television programs?
Television as an interface between the public and the private sphere leading to the constitution of the social welfare (Mandeville)
the role of market as established by Rosanvallon: Can Television, as well as market, pacify relations inter alii?
Television as a political tool
Television moulds preferences: the Nation/State defines what the audience watches
News and sports, reflection of the national psyche, last bastions to resist against transnational flows of television consumption?
Television as a soft power
Television as a source of political representativeness
A way to change perceptions
Television programmes as weapons of soft power in Asia (i.e. anime, dramas, films…)
Litterature on public sphere and epistemic community
The structural transformation of the public sphere. An inquiry into a category of bourgeois society (Habermas, 1989)
Communication and citizenship. Journalism and the public sphere (Dahlgreen, Sparks, 1991)
Imagined communities (Anderson)
Consumption in Asia (Chua)
Articles
UNESCO report (Nordenstreng and Varis, 1974): one-way flow of cultural production from the developed to the developing world
The economics of Television Program Production and Trade in Far East Asia (Waterman, Rogers, 2000)
Media imperialism revisited: some findings from the Asian case (Chadha, Kavoori 2000)
Methodology
Quantitative analysis:
Broadcasting strategies in eight Asian countries, among private and public broadcasters regarding imports of Asian programs
Qualitative analysis:
Interviews of television programs consumers about their viewing habits, their perception of foreign programs and their preferences
Raised issue:
Can the consumption of television programs in Asia foster and shoulder the emergence of a public sphere or an epistemic community in Asia?
Consumption of television and sharing common values; mould for a common epistemic community in Asia
1.1 The discovery of the sameness/closeness through television programs
Identification process in the making
Cross border allegiance of taste
An offer shaped by the audience (market driven approach)
A comprehension of the unknown other eased by television consumption
1.2 Hindrances
transnational flows based on pop culture… dramas, cartoons
is light entertainment able to erase cultural differences, misperceptions?
Counterbalanced by the distanced relation to the media and the reception theories
The burden of history (colonial past…) and biased perceptions of the other moulded by past propaganda
II. Consumption of television programs in Asia: a political stance
2.1 Contestation and resistance force
a voice for the repressed in some Asian regimes, a voice of contestation in Asian communist authoritarian regimes, hence an enlightenment process in Asia through media consumption?
a resistance to American cultural imperialism or a resistance to the Japanese cultural imperialism in some cases
to be qualified in the proportion of American programs broadcasted generally in Asia, reflection of the legacy of history and the effects of media liberalization (Uruguay round)
to be qualified by the proportion of Japanese anime, dramas, products of the Japanese soft power, in Asia. Japan as a benchmark in Asia
2.2 A means to build an Asian community, polity
Consumption of Asian television programs and the emergence of a new cultural, transnational geopolitical map in Asia: the cultural contents producers versus the cultural contents consumers, translating, echoing new balances of power in Asia
Importers and exporters; the role of the State in fostering television contents or placing watchdogs on television programming in Asia
A polity threatened by a new kind of media imperialism produced by leading Asian states?
Hindrances: the preference for the local in a number of television fields (news, entertainment)
Qualifying the possibility of detachment towards local programs, news as the very last bastion of national sovereignty (however qualified by the way people consume news, and the way the news programs are produced)
III. Consumption of television programs and epistemic community/Asian polity: a down top process led by heterogeneous social categories
3.1 Public sphere and Habermas approach: its validity to the Asian context
Interactive approach valid in the Asian context: the discursive reason
Studies still on the making about forums, fans communicating to each other concerning their consumption of television programs
Public sphere and Asian youth: alternative ways of consuming culture and constructing shared values; shifting patterns of consumption in Asian programs
The Asian prosumers in the web.20 context : consumers and passers by of Asian programs (cf youtube and the case of Korean dramas, online consumption of Asian dramas in China…)
Current stage: clusters and networks rather than a true public sphere, epistemic community on the making
3.2 Redefining public opinion and public sphere? New modalities
Consumption of television programs in Asia calling for a redefinition of the very notion of public sphere
the consumption of television programs blurs the limits/frontiers between public and private sphere
the personal taste, mark of the very intimate, is made public
conclusion
Asian public sphere, epistemic community as a horizon
Cultural transnational flows and consumption as a founding basis for Asian cosmopolitanism
So, the paper is entitled "Watching TV makes sense". About the emergence of a possible public sphere in East Asia through the consumption of Asian TV programs...
Still have a week to write the paper ;)
Here's the outline from UMAT conf. Any comments are welcome ;)
Watching television makes sense
The consumption of Asian television programs in Asia: a forthcoming sign of an epistemic community in Asia
Ubiquitous media, Asian transformations
Public sphere in Asia
Aska Monty, iCAT (Institute for Communication Arts and Technology), Hallym University
Introduction
a phenomenon dating back to the 1980s 1990s preceded by the consumption of mainly Western programs
the consumption of Asian programs as “foreign programs in Asia translates/echoes/reflects technological changes in Asia, the emergence and confirmation of audiovisual powers, as producers of soft power and cultural contents, better designed for an Asian audience
Asian consumption: a two-fold phenomenon
a negative response to the Western media imperialism
a positive answer towards a multi-polar power system in Asia
Public sphere, epistemic community
Different stages of the formation and gathering of Asian people
from the grass root level of consumption to the political/utopian level of polity constitution
Why study television programs?
Television as an interface between the public and the private sphere leading to the constitution of the social welfare (Mandeville)
the role of market as established by Rosanvallon: Can Television, as well as market, pacify relations inter alii?
Television as a political tool
Television moulds preferences: the Nation/State defines what the audience watches
News and sports, reflection of the national psyche, last bastions to resist against transnational flows of television consumption?
Television as a soft power
Television as a source of political representativeness
A way to change perceptions
Television programmes as weapons of soft power in Asia (i.e. anime, dramas, films…)
Litterature on public sphere and epistemic community
The structural transformation of the public sphere. An inquiry into a category of bourgeois society (Habermas, 1989)
Communication and citizenship. Journalism and the public sphere (Dahlgreen, Sparks, 1991)
Imagined communities (Anderson)
Consumption in Asia (Chua)
Articles
UNESCO report (Nordenstreng and Varis, 1974): one-way flow of cultural production from the developed to the developing world
The economics of Television Program Production and Trade in Far East Asia (Waterman, Rogers, 2000)
Media imperialism revisited: some findings from the Asian case (Chadha, Kavoori 2000)
Methodology
Quantitative analysis:
Broadcasting strategies in eight Asian countries, among private and public broadcasters regarding imports of Asian programs
Qualitative analysis:
Interviews of television programs consumers about their viewing habits, their perception of foreign programs and their preferences
Raised issue:
Can the consumption of television programs in Asia foster and shoulder the emergence of a public sphere or an epistemic community in Asia?
Consumption of television and sharing common values; mould for a common epistemic community in Asia
1.1 The discovery of the sameness/closeness through television programs
Identification process in the making
Cross border allegiance of taste
An offer shaped by the audience (market driven approach)
A comprehension of the unknown other eased by television consumption
1.2 Hindrances
transnational flows based on pop culture… dramas, cartoons
is light entertainment able to erase cultural differences, misperceptions?
Counterbalanced by the distanced relation to the media and the reception theories
The burden of history (colonial past…) and biased perceptions of the other moulded by past propaganda
II. Consumption of television programs in Asia: a political stance
2.1 Contestation and resistance force
a voice for the repressed in some Asian regimes, a voice of contestation in Asian communist authoritarian regimes, hence an enlightenment process in Asia through media consumption?
a resistance to American cultural imperialism or a resistance to the Japanese cultural imperialism in some cases
to be qualified in the proportion of American programs broadcasted generally in Asia, reflection of the legacy of history and the effects of media liberalization (Uruguay round)
to be qualified by the proportion of Japanese anime, dramas, products of the Japanese soft power, in Asia. Japan as a benchmark in Asia
2.2 A means to build an Asian community, polity
Consumption of Asian television programs and the emergence of a new cultural, transnational geopolitical map in Asia: the cultural contents producers versus the cultural contents consumers, translating, echoing new balances of power in Asia
Importers and exporters; the role of the State in fostering television contents or placing watchdogs on television programming in Asia
A polity threatened by a new kind of media imperialism produced by leading Asian states?
Hindrances: the preference for the local in a number of television fields (news, entertainment)
Qualifying the possibility of detachment towards local programs, news as the very last bastion of national sovereignty (however qualified by the way people consume news, and the way the news programs are produced)
III. Consumption of television programs and epistemic community/Asian polity: a down top process led by heterogeneous social categories
3.1 Public sphere and Habermas approach: its validity to the Asian context
Interactive approach valid in the Asian context: the discursive reason
Studies still on the making about forums, fans communicating to each other concerning their consumption of television programs
Public sphere and Asian youth: alternative ways of consuming culture and constructing shared values; shifting patterns of consumption in Asian programs
The Asian prosumers in the web.20 context : consumers and passers by of Asian programs (cf youtube and the case of Korean dramas, online consumption of Asian dramas in China…)
Current stage: clusters and networks rather than a true public sphere, epistemic community on the making
3.2 Redefining public opinion and public sphere? New modalities
Consumption of television programs in Asia calling for a redefinition of the very notion of public sphere
the consumption of television programs blurs the limits/frontiers between public and private sphere
the personal taste, mark of the very intimate, is made public
conclusion
Asian public sphere, epistemic community as a horizon
Cultural transnational flows and consumption as a founding basis for Asian cosmopolitanism
mercredi 14 mai 2008
arte & china
TÉLÉVISION
Arte cherche à s'implanter sur l'immense marché chinois de la production audiovisuelle
LE MONDE | 12.05.08 | 14h42 • Mis à jour le 12.05.08 | 14h42PÉKIN ENVOYÉ SPÉCIAL
Avec, en moyenne, un milliard de téléspectateurs chaque jour, les télévisions chinoises intéressent les chaînes étrangères. Echanges et contacts se multiplient.
Fin mars, une délégation de la chaîne franco-allemande Arte, conduite par son président Gottfried Langenstein et son vice-président Jérôme Clément, s'est rendue à Pékin et à Shanghaï pour y rencontrer les patrons des chaînes chinoises, négocier la vente de programmes et esquisser des accords de production. "La Chine joue un rôle important dans nos programmes, confie M. Langenstein. Nous avons diffusé plus d'une trentaine de films et de fictions qui y ont été produits et nous comptons développer nos liens avec l'ensemble des télévisions chinoises."
Après avoir privilégié la coproduction cinématographique en investissant dans les films du réalisateur Wong Kar-Wai (2046) ou de Zhang Yimou (Les Triades de Shangai), Arte veut développer la coproduction de documentaires et de spectacles vivants (opéras, concerts...) appréciés des téléspectateurs chinois. "Il s'agit de proposer des émissions sur la Chine et de faire une place à ses créateurs", explique M. Clément. "Nous souhaitons montrer la formidable mutation politique et économique du pays en ne négligeant pas les questions qui fâchent", poursuit-il. Un discours accueilli "favorablement" par les responsables des groupes audiovisuels chinois (CCTV, Beijing TV, Shanghai Media Group).
Dans un premier temps, des échanges de catalogues vont être mis en place, puis Arte pourrait coproduire des documentaires historiques développés par les chaînes thématiques chinoises. Des négociations devraient aussi s'engager pour que la télévision franco-allemande ait accès aux archives des chaînes chinoises. Les dirigeants de l'audiovisuel chinois se sont dit intéressés par cette télévision diffusée en deux langues malgré le passé guerrier entre les deux pays. La direction de Beijing TV a ainsi souhaité que le rapprochement entre Chinois et Japonais suive la même voie. "La réconciliation entre les peuples passe souvent par la culture. Elle permet de mieux comprendre l'autre", a-t-elle souligné.
Le marché local de la production audiovisuelle est immense. Selon le State Administration for Radio, Film and Television, l'organisme officiel de régulation chinois, près de 150 000 heures de programmes seraient produites chaque année par plus d'un millier de chaînes, dont de nombreuses télévisions locales. La publicité, limitée à six minutes par heure, rapporterait près de 8 milliards d'euros par an. Ces statistiques officielles sont toutefois approximatives du fait de l'amalgame des moyens de diffusion (hertzien, câble, satellite).
Ainsi, les chaînes étrangères accessibles par le câble et en accès payant sont-elles théoriquement interdites. Seuls les résidences diplomatiques et les grands hôtels sont autorisés à les diffuser. Mais près de 10 millions de foyers les capteraient grâce à des antennes paraboliques illégales. "Pour beaucoup de Chinois, le petit écran est le seul moyen d'information et d'ouverture sur le monde, insiste Guo Hua, responsable des acquisitions internationales de CCTV6, la chaîne consacrée au cinéma qui diffuse des films étrangers sous-titrés en mandarin.
L'OEIL VIGILANT DE LA CENSURE
A leur manière, les chaînes relaient le discours politique sur la nouvelle "société harmonieuse" voulue par Pékin. On en trouve des traces dans les documentaires historiques, les séries policières, les feuilletons qui connaissent un succès grandissant dans le pays. Sous l'oeil vigilant de la censure, ces productions revisitent l'Histoire chinoise en gommant ses aspects les plus négatifs comme les excès de la Révolution culturelle et n'hésitent pas à aborder les problèmes de corruption, mal récurrent qui ronge le pays. La télé-réalité est aussi très regardée.
Mais cette ouverture a ses limites. Les productions étrangères - notamment les dessins animés nippons et de rares séries américaines - ne sont pas diffusées aux heures de grande écoute. Une décision politique pour limiter l'influence et les "déviances" occidentales auprès de téléspectateurs qui passent chaque jour trois heures devant la télévision.
Daniel Psenny
Article paru dans l'édition du 13.05.08.
Arte cherche à s'implanter sur l'immense marché chinois de la production audiovisuelle
LE MONDE | 12.05.08 | 14h42 • Mis à jour le 12.05.08 | 14h42PÉKIN ENVOYÉ SPÉCIAL
Avec, en moyenne, un milliard de téléspectateurs chaque jour, les télévisions chinoises intéressent les chaînes étrangères. Echanges et contacts se multiplient.
Fin mars, une délégation de la chaîne franco-allemande Arte, conduite par son président Gottfried Langenstein et son vice-président Jérôme Clément, s'est rendue à Pékin et à Shanghaï pour y rencontrer les patrons des chaînes chinoises, négocier la vente de programmes et esquisser des accords de production. "La Chine joue un rôle important dans nos programmes, confie M. Langenstein. Nous avons diffusé plus d'une trentaine de films et de fictions qui y ont été produits et nous comptons développer nos liens avec l'ensemble des télévisions chinoises."
Après avoir privilégié la coproduction cinématographique en investissant dans les films du réalisateur Wong Kar-Wai (2046) ou de Zhang Yimou (Les Triades de Shangai), Arte veut développer la coproduction de documentaires et de spectacles vivants (opéras, concerts...) appréciés des téléspectateurs chinois. "Il s'agit de proposer des émissions sur la Chine et de faire une place à ses créateurs", explique M. Clément. "Nous souhaitons montrer la formidable mutation politique et économique du pays en ne négligeant pas les questions qui fâchent", poursuit-il. Un discours accueilli "favorablement" par les responsables des groupes audiovisuels chinois (CCTV, Beijing TV, Shanghai Media Group).
Dans un premier temps, des échanges de catalogues vont être mis en place, puis Arte pourrait coproduire des documentaires historiques développés par les chaînes thématiques chinoises. Des négociations devraient aussi s'engager pour que la télévision franco-allemande ait accès aux archives des chaînes chinoises. Les dirigeants de l'audiovisuel chinois se sont dit intéressés par cette télévision diffusée en deux langues malgré le passé guerrier entre les deux pays. La direction de Beijing TV a ainsi souhaité que le rapprochement entre Chinois et Japonais suive la même voie. "La réconciliation entre les peuples passe souvent par la culture. Elle permet de mieux comprendre l'autre", a-t-elle souligné.
Le marché local de la production audiovisuelle est immense. Selon le State Administration for Radio, Film and Television, l'organisme officiel de régulation chinois, près de 150 000 heures de programmes seraient produites chaque année par plus d'un millier de chaînes, dont de nombreuses télévisions locales. La publicité, limitée à six minutes par heure, rapporterait près de 8 milliards d'euros par an. Ces statistiques officielles sont toutefois approximatives du fait de l'amalgame des moyens de diffusion (hertzien, câble, satellite).
Ainsi, les chaînes étrangères accessibles par le câble et en accès payant sont-elles théoriquement interdites. Seuls les résidences diplomatiques et les grands hôtels sont autorisés à les diffuser. Mais près de 10 millions de foyers les capteraient grâce à des antennes paraboliques illégales. "Pour beaucoup de Chinois, le petit écran est le seul moyen d'information et d'ouverture sur le monde, insiste Guo Hua, responsable des acquisitions internationales de CCTV6, la chaîne consacrée au cinéma qui diffuse des films étrangers sous-titrés en mandarin.
L'OEIL VIGILANT DE LA CENSURE
A leur manière, les chaînes relaient le discours politique sur la nouvelle "société harmonieuse" voulue par Pékin. On en trouve des traces dans les documentaires historiques, les séries policières, les feuilletons qui connaissent un succès grandissant dans le pays. Sous l'oeil vigilant de la censure, ces productions revisitent l'Histoire chinoise en gommant ses aspects les plus négatifs comme les excès de la Révolution culturelle et n'hésitent pas à aborder les problèmes de corruption, mal récurrent qui ronge le pays. La télé-réalité est aussi très regardée.
Mais cette ouverture a ses limites. Les productions étrangères - notamment les dessins animés nippons et de rares séries américaines - ne sont pas diffusées aux heures de grande écoute. Une décision politique pour limiter l'influence et les "déviances" occidentales auprès de téléspectateurs qui passent chaque jour trois heures devant la télévision.
Daniel Psenny
Article paru dans l'édition du 13.05.08.
mardi 15 avril 2008
to be read
"Music That Moves: Popular Music, Distribution and Network Technologies" in Cultural Studies, 16:2 (2002), pp. 213-232.
CFP
Journal Culture, Language and Representation, ISSN: 1697-7750, seekscontributions for its 2009 and 2010 issues. The 2009 is an open call for original articles that engage in any relevant areaof cultural analysis: the Arts, literature, film, education, linguistics andcommunication, cultural history, anthropology, sociology, etc. Theoreticaldiscussions as well as empirical analysis of specific cases or texts arewelcome. The 2010 issue will be devoted to “Popular Culture in the Age ofGlobalization”. Deadline for submissions: Articles for the 2009 issue should reach the Editors no later than 30th, October2008.Articles for the 2010 issue should reach the Editors before the 15th, September2009. For any enquiries, you may contact Jose R. Prado at prado@ang.uji.es The guidelines for publication can be obtained from the Journal’s web page:www.clr.uji.esJournal Culture, Language and Representation is indexed in the MLA, ABELL, ISOC(CINDOC), and appears in the LATIN INDEX. Please send two hard copies and a WORD or RTF document of your completedmanuscript to:Jose R. PradoDept. Estudis AnglesosCampus Riu SecUniversitat Jaume I12071 CastellonSpain
dimanche 13 avril 2008
CFP
Call for Papers and PresentationsContinuities and Innovations: Popular Print Cultures – Past andPresent, Local and GlobalUniversity of AlbertaEdmonton, Alberta, Canada27-30 August 2008 Papers and presentations are invited for any aspect of the conferencetheme. Proposals should be 200 to 300 words in length and clearly statethe central theme or argument, the kind of popular print or relatedmedia to be considered, and its social and cultural location in timeand place.Please indicate any equipment requirements (data projector;conference computer; overhead projector; video or dvd player; audioplayer, etc). A brief resumé should accompany each proposal, statingthe proposer’s name, address, contact information, and relevantacademic, professional, or personal background and knowledge of form ofpopular print culture discussed.Send proposals and resumés by email as pasted-in documentsor attachments in an up-to-date format to: popprint@ualberta.caOr mail hard copies to: Popprint, Kirsten MacLeod,Department of English and Film Studies, University of Alberta,Edmonton, Alberta, Canada T6G 2E5. Questions to either address.Deadline for proposals is 30 May 2008. But space on theprogram is limited, and proposals will be considered on a first-come,first-accommodated basis. This conference and popular arts festival consider what most peopleread, here and elsewhere, now and in the past. Popular printcharacteristically includes both words and images, and is intertwinedwith music and performance. In these forms it has been and continues tobe one of the most powerful cultural forces in history, morphing intonew media and new technologies, from the phonograph record throughradio, film, and television to video games and the internet.Popular print culture is now a global phenomenon, withstriking similarities in what most people read, anywhere. Yet there arealso striking local differences, inflections, and variations in whatmost people read, here or elsewhere. “Continuities and Innovations”will bring together all those interested in popular printculture--readers and writers, publishers and fans, librarians andcollectors, teachers and students, and of course researchers in manyacademic disciplines.Proposals are invited from all of these groups, directlyaddressing the conference theme, or taking up any aspect of “PopularPrint Cultures, Past and Present, Local and Global.” Topics can includerelations between popular print and other media, between popular and“high” literatures, between words and images, between words and music,between past and present forms, and so on. Presentations may be fromwriters, readers, publishers, teachers, students, distributors,sellers, librarians, illustrators, opponents, promoters, adapters toother media, fans, collectors, et al. Papers and presentations can beon any relevant topic—reading popular print and creating it, writing itand illustrating it, publishing it and selling it, counteracting it ortransforming it, adapting it and influencing it, censoring it andliving it, and more. Participants may consider popular print andpolitics, religion, sexuality, class, ethnicity, “race,” nationality,or any other theme.Google “Edmonton Alberta” and “University of Alberta” forinformation on the venue. Program and other information, includingtravel and accommodation details, regularly updated, will be availableon the conference website: www.arts.ualberta.ca/popprint -- Gary Kelly FRSCUniversity ProfessorDepartment of English and Film StudiesUniversity of AlbertaEdmonton, ABT6G 2E5Canada(780) 492-0561gkelly@ualberta.ca
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