Archive for September, 2016

CFP: Textual Reception – Exploring Audiences’ Writing Practices from a Gender Perspective (special issue of Genre en séries / Gender in Series)

September 29, 2016

CFP: Textual Reception – Exploring Audiences’ Writing Practices from a Gender Perspective (special issue of Genre en séries / Gender in Series)

Whether through fan mail sent to celebrities and the popular press, critical pieces, derivative narratives such as fan fictions and other outlets, media audiences have often chosen writing as a privileged way to extend their experiences of reception. In very different contexts indeed, individuals have written about the cultural objects they loved or execrated, using various media to express themselves. If preserved and accessible, all these texts can reveal a lot about their authors, but also about the composition and structure of the audiences they belong or have belonged to. Above all, they are spaces in which the making of gendered identities and relationships within these audiences can be observed, providing scholars valuable resources to study media reception from a gender perspective.

This special issue of Gender in Series aims to gather works dedicated to the analysis of audience’s writing practices through the lens of gender, broadly speaking, to illuminate both the media cultures and the social discourses produced by these specific audiences. Previous works have already showed how “ordinary”, “domestic” or “fan” writings may be highly gendered and researchers are therefore invited to provide new case studies. Contributions that focus on the writers’ profiles, their writing and, if applicable, publishing conditions, are particularly encouraged, as well as those interested in the social meanings and uses of audience’s texts from individual or collective perspectives. In the line of works that have explored the relation between reading and gender or the construction of identities through mass media, it seems essential to understand how these writings can be means of self-presentation or how they convey ideological representations and determinations about gender. It is all the more important since they are inspired by cultural contents which are themselves embedded within social and gendered norms. Besides, as writing forms continue to have a central role – offline and online – in reception practices, this special issue also welcomes comparative works establishing bridges between different kinds of writing materials or between heterogeneous eras or contexts: identifying the proximities or ruptures within forms of textual reception will be helpful to discuss how media cultures and gender issues interact and how these interactions may change in time.

Contributors should feel free to focus on any type of written textual reception, whatever its content (correspondence, commentary, fiction, etc.) or media (paper, digital, etc.), and whether the texts were supposed to be publicly released or to remain in the private sphere. This special issue wishes to address textual reception in its diversity: articles may deal with objects of affection (or disgust) from literary, musical and audiovisual fields or deal with celebrities related to arts, sports or even politics. Proposals from any of the different social sciences (sociology, history, film and television studies, cultural and media studies, etc.) will be considered, provided the analysis is based on empirical material, derived from archives, ethnographic research and/or digital research. Articles may deal with the most involved amateurs, such as “fans”, but may also focus on more “ordinary” cultural consumers, as long as they have taken a pen or a keyboard to express themselves. Finally, even if studies about writings produced between the end of the nineteenth to the twenty-first century are preferred, more comparative works or approaches relying on older writings will, when appropriate, be taken into account.

Full CFP (with additional research directions, references, and practical information):

(suggested references:

– Sébastien François:
– Thomas Pillard:

Important dates:
– Deadline for submissions: November 30, 2016
– Notification of acceptance or rejection: December 15, 2016
– Reception of full papers: March 1, 2017
– Reviews sent to authors: May 2017
– Reception of final articles: September 1, 2017
– Online publication: Fall 2017


Call for Fandom and Disability panel participants: 2017 PCA/ACA national conference in San Diego

September 22, 2016

From Devin Magee:
This is a call for participants in a Fan Studies panel at PCA 2017. I’d like to put together a diverse group of fan scholars who are active in various fandoms, and particularly those who create or consume transformative works.
In the Fan Studies panel at PCA 2016, participants discussed myriad reasons for reading and writing fanfiction, as well as problems within fanfiction and fandom as a whole. Examples were given of authors not properly researching race, stereotypes about gay men, exclusion of female characters in order to give priority to men– all problems stemming because they stymie the efforts of those who turn to transformative works to do what so much canon does not: reflect the diversity of experience of those creating it, reading it, or engaging with it in other ways.
That diversity of experience includes disability (both mental and physical), and as is the case in many spaces where multiple axes of oppression intersect, fandom tends to ignore or misrepresent disabled characters. In this panel, I’d like to address why that is and how it can be remedied. Specifically, I’d like to ask the questions, “where does disability fit into fan space?”, “how can able-bodied writers address disability in their works?”, “how do transformative works address canonical disability?”, and “do disabled fans interact with fandom differently than able-bodied fans? If so, how?”. I’d like to focus on physical disability, though perspectives on mental disability are also valuable and will be included.
I am looking for 3-5 other scholars to join this panel. Anybody interested should send an abstract of no more than 250 words to Devin Magee ( by September 30, 2016.

Call for Papers: Tema: Researching Internet Content

September 15, 2016

Click to access Call%20for%20papers%20-%20HRC.pdf

Tema: Researching Internet Content

The Internet has recently celebrated it’s 25th anniversary and as Gartner’s hype cycle on emerging technology shows the Internet has already give rise to new, emerging as well as established technologies, platforms, ways of interacting and creating content.

In the humanities we traditionally study cultural content in it’s many different shapes and forms from letters and literature, to paintings and pottery. However, 25 years with the Internet has thoroughly affected the amount, shape, creation of and way we interact with the cultural content found on the Internet. This in turn has influenced the theories as well as the methods with which we can study cultural content. The field of Digital Humanities has built itself around the idea of using digital methods to study more traditional material such as handwritten or analogue documents. However, in recent years there has been a growing focus on the study of born-digital material, using both newly developed digital methods as well as more traditional methods.

This issue will include research papers that deal with methods, possibilities, challenges and in particular ethical considerations in relation to humanities research into Internet content.

This includes, but is not limited to the study of:
fanwork and it’s creators
DIY culture and how-tos
amateur forums
social networks blogs and bloggers

Researchers from any discipline and at any level are invited to submit a 200-word abstracts on this topic by 15 October 2016 to the issue editors, Henriette Roued- Cunliffe ( and Thessa Jensen (

The editorial team will review all abstracts, and authors of selected abstracts will be invited to submit full papers by 1 February 2017.

Important dates:

15 October 2016: deadline for abstracts

1 February 2017: deadline for full paper

CFP: Queers and Queerness in Science Fiction, Writing from Below journal

September 15, 2016

CFP: Queers and Queerness in Science Fiction

Writing from Below seeks submissions for a special themed issue on the poetics and politics of queers and queerness in science fiction. We seek critical and creative works, from any disciplinary perspective, in any format or medium, on the intersection of science fiction with the study of genders and sexualities. We seek to make visible the invisible queer pasts, presents, and futures of science fiction, to critically and creatively cultivate science fictional possibilities pressed into service for the coming of future actual and imagined queer bodies, lives, relationships, communities… and we are especially interested in the sociological perspective—the impacts of science fiction, in its myriad manifestations, on genders and sexualities as experienced, expressed, performed in human societies.

Writing from Below is a peer-reviewed online open-access gender, sexuality and diversity studies journal. We provide a forum for new research on gender and sexuality and the array of intersecting practices, ideologies, and issues that shape their human experience and social expression. For this special issue, topics might include (but should not be limited to):

· The representation of queers, queerness, and same-sex sexualities in science fiction, across various mediums (song, dance, literature, film, visual arts, etc.)

· The history of queer science fiction, its legacies and our inheritances

· The critique of privileged sexual and gender practices in science fiction—discrimination, marginalisation and exclusion; power and coercion

· Queer social movements—their advancement, representation, critique—in science fiction

· Contemporary cultural, social, political, legal, ethical, biological, environmental, and technological issues in gender that science fiction draws attention to and comments on

· Queer geographies, place and space in science fiction

· New modes or models of gender, sexuality, and eroticism articulated through science fiction

· The future of queerness: what will queer be (if it persists) in future science fictions

· Hope, hopelessness, and queer science fictional futures

· Dystopian and utopian representations of futuristic queerness

· Post-humanism and/or trans-humanism, in theory and practice

· Bodies and texts in science fiction: non-human queerness, post-humanist queerness, queerness without bodies; cyborgs and augmented humans; intersexuality and alternative embodied genders

· Dildos and deathrays: sex, sexuality, and technology

· Queers Destroy/Destory Science Fiction: canons and cannons

· Science fiction and/or fan studies, genre studies, game studies, etc.

The future beckons with a queer fist, and we need you to write it. Do not be limited. Like your forebears: Be brave! Play with form, style, and genre. Invent, demolish, reimagine. We welcome submissions from any field which intersects with the study of gender, sexuality, and diversity. We publish traditional academic research as well as less conventional creative forms of research—we love to encourage scholarly experimentation.

We are open for submissions until 7 November 2016. Please visit the Writing from Below website for more information, and to submit your work:

Dr Quinn Eades
Managing Editor

Dr Stephen Abblitt
Managing Editor

Writing from Below
La Trobe University, Victoria, 3086

CFP: Liminal Celebrity and Small Nations- Special Issue of Celebrity Studies

September 14, 2016

​Call for Papers: Liminal Celebrity and Small Nations- Special Issue of Celebrity Studies

Guest Editors:

Professor Barry King, Auckland University of Technology, New Zealand

Dr Damion Sturm, Leeds Beckett University, UK

Research into celebrity tends to focus on larger and more powerful media systems and how the logic of mediated fame has been formed and developed in larger and more powerful nations. Considering that 60% of the world’s nations have populations of less than 10 million and 48% of nations have less than 5 million inhabitants, this issue seeks to explore the role, value and function of celebrity in such localities. 

Historically the study of celebrity has followed the paths of organizational development and the cultural templates set by the success of Hollywood and the American media. Although significant differences in the formation of global and national celebrity culture are apparent in Europe (e.g., England, France, Italy) and other large and emerging global markets (e.g., China, India) these developments beg the question of the dynamics of celebrity in smaller nations. More explicitly, within such localities the formation of celebrity systems are subject to tensions between the global and the local. Drawing on the work of Victor Turner and Homi Bhabha, there is a need to explore the condition of inbetweenness and the liminal condition of local celebrity, charged with representing nationhood – itself internally conflicted and contested – and participation in the global celebrity order based on American and Western media systems. It could be argued that the national features of global celebrity, especially Hollywood and the American media, is rendered “invisible” as the universal touchstone of fame. Conversely, for the imagined communities of the periphery, celebrities are required to contend with notions of cultural specificity and traditions of representation and identity. So whilst it is true that the tension between the global and the local is a feature of celebrity culture per se, in small nation contexts this tends to be less a phenomenon between the ordinary and the extra-ordinary than between different versions of collective identity. 

What are the specificities, nuances and complexities that underpin the development of celebrity in smaller nations? How do smaller nations respond to the the influence of global Hollywood as it interfaces with local traditions of prestige, performance and cultural identity? Do local “celebrity imaginaries” under pressure to gain the economic advantages of following global formats, essentially mirror and replicate globally powerful forms of celebrity? Alternatively, what are the differences, distinctions and cultural conflicts that emerge in the formation of such “glocal” celebrity systems? Does “liminal” celebrity germinate, operate and mobilise different logics of fame and moral economies of representation? Across a range of celebrity fields – in sport, entertainment and politics – how do localised nationalist discourses come to the fore and how do these play out in the logic of self-commodification and formation of personae? How do the factors of smaller market size and limited economies of scale enact a territorial or geographical compression on systems of value and prestige, geographic distance or isolation from the West structure the discourse of celebrity and the development and maintenance of liminal celebrity cultures? 

In order to consider the interaction of the local and global (e.g., economic, political and cultural), as well as possible paradoxes and tensions in the formation of small nation celebrity, we welcome submissions that probe celebrity in any small nations located in Europe, Asia, Middle East, Africa, Latin America, the Caribbean and Oceania.

Potential themes addressed may include but are not limited to:

The politics of celebrity in small nations

The local and global dimensions to celebrity in small nations 

The role, value and/or significance of celebrity in small nations

Celebrity identity politics via traditional (e.g., cultural, national, global, gender, race) and alternative articulations (e.g., abject, affect, agency, glocal, grobal, liquid, subversive) 

Cultural specificity and different versions of collective identity in small nation celebrity

Celebrity in specific fields of fame, such as entertainment (film, television, sport, music), politics and public life

Typologies of fame in small nations (e.g., notions of stardom, celebrity, persona, personage) 

Representational regimes and the burden of nationalistic articulations of celebrities as icons, heroes/heroines, and/or representatives of the nation (e.g., sport, media, politics)

Everyday occurrences of small nation celebrity, micro-celebrity and ‘ordinary’ celebrity 

Celebrity culture, commodification and gift economies

Celebrity and Transgender performance traditions (e.g., in South East Asia, the Pacific Rim)

Local traditions of performance in theatre, film and television, sport and politics in the formation of celebrity systems

Historical treatment and/or contemporary case studies of celebrity 

The mediatisation and/or commodification of celebrities in small nation media 

The consumption of celebrity in small nations (i.e., fandom, gossip)

The role of new media, social media and technology for celebrity in small nations

Interested authors should send a 250 word proposal and 200-word biography to both and by October 21, 2016. Acceptance notices will be sent out by December 9 2016. For accepted proposals, completed essays of 6000-8000 words will be due no later than April 7, 2017. Final publication of the special issue is expected early 2018. Only previously unpublished essays will be considered.

CFP for Edited Book Collection: War in the Whedonverses: Essays on Warfare and Military Studies in the Works of Joss Whedon

September 14, 2016

CFP for Edited Book Collection: War in the Whedonverses: Essays on Warfare and Military Studies in the Works of Joss Whedon

Editors: Ensley F. Guffey and Samira S. Nadkarni

Publishers: McFarland and Co.

Book Website:

Issues of war have played a prominent role in Whedon’s work across various media, from the progressively militarized later seasons of Buffy the Vampire Slayer and Angel,to the later seasons in comic book format
and its offshoot, Fray. This continues throughout the television and comic book iterations of Firefly and Serenity, inDollhouse, in Whedon’s work with Marvel Studios both behind the scenes and as writer/director of the first
two Avengers films, as well as his independent projects such as Dr. Horrible’s Sing Along Blog and even in his critically acclaimed rendition of Much Ado About Nothing. Despite the prevalence of warfare in Whedon’s work, a collection
of sustained critical examination has yet to be published and is the gap this book seeks to address.

Possible topics might include:

  • Military Leadership in Whedon’s Work
  • Past and Present Cultural Histories of Wars
  • War and Gender
  • PTSD and Combat Stress
  • Whedon and Empire
  • Narratives of the Good War and Humanitarian Intervention
  • Trauma and Destruction
  • Private Military Companies and Armed Individuals
  • Corporate Ideology and Warfare
  • Disability and War
  • Military Science and Invention

Please respond with any questions or abstracts of 300-500 words by September 30, 2016 to Proposals should
be for original essays that have not been published previously (including in conference proceedings) and that are not currently under consideration for another edited collection or journal. Final pieces must adhere to the MLA style of citations
and be approximately 8,000 words, inclusive of endnotes and bibliography. These are due April 1, 2017.  


September 7, 2016

In 2006’s /Convergence Culture: Where Old and New Media Collide/, Henry Jenkins defines “convergence culture” as “the low of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want” (2). In contemporary culture, we are no longer merely passive consumers of media: we are participants in the narrative to the point where fans often actively influence outcomes and storylines well after a primary text has been released. J.K. Rowling’s tendency to continuously play with her /Harry Potter/ characters and stories a decade after the “final” book of the 7-part series was published is indicative of a growing trend towards interactive, convergence storytelling as part of the fan experience. Rowling certainly has her supporters and critics, and arguably, no one embodies the art of transmedia storytelling quite like Rowling. Since the 1997 publication of the first /Harry Potter/ novel, the “Potterverse” has seen the addition of eight feature films (with a ninth in production), the creation of the fan-interactive Pottermore© website, the release of myriad video games for multiple platforms, the construction of the Wizarding World of Harry Potter at Universal Studios, several companion books (such as /Fantastic Beasts and Where to Find Them/), critical essays and analyses, and the 2016 debut of the original stage play, /Harry Potter and the Cursed Child/.

We invite essays for a collection that explores the topics/themes/ideas in the companion works outside of the 7-book original canon /Harry Potter/ series. Specifically, we are looking for essays that explore the cultural implications of these narratives and the way fans (and critics) negotiate these narratives in a post-modern, convergence culture world.

We anticipate that this collection will include 16-20 essays, and as a working guide, the essays should be 4000-4500 words. Essays must adhere to the most current MLA format.

Submission Guidelines: Please send a 500-word proposal in Word, followed by a short bibliography showing the paper’s scholarly and theoretical context. Please also include a short professional description of yourself.

In addition to submissions from academics taking a scholarly approach to the subject, we are also particularly interested in essays that include analyses of /The Cursed Child/ from someone who has seen a live performance in London, any individuals who currently work or have worked at The Wizarding World of Harry Potter, and individuals associated with cosplay or active fandom (fan groups, organizations, etc.)

Submission deadline: 12/1/16

Direct inquires and proposals to:

Editors: Amanda Firestone, Leisa A. Clark <>

CFP: Stardom and Fandom, Southwest Popular/American Culture Association Conference (February 15-18, 2017)

September 5, 2016

38th Annual Conference, February 15-18, 2017
Hyatt Regency Hotel & Conference Center
Albuquerque, New Mexico
Proposal submission deadline: November 1, 2016

Proposals for papers and panels are now being accepted for the 38th annual SWPACA conference. One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. The Area Chair for Stardom and Fandom invites paper or panel proposals on any aspect of stardom or fandom. The list of ideas below is limited, so if you have an idea that is not listed, please suggest the new topic. We are an interdisciplinary area and encourage submissions from multiple perspectives and disciplines. (We also have a lot of fun in beautiful Albuquerque!) Topics might include:

Studies of individual celebrities and their fans
Studies focused on specific fandoms
The reciprocal relationship between stars and fans
Impact of celebrity and fame on identity construction, reconstruction and sense of self
Reality television and the changing definition of ‘stardom’
The impact of social media on celebrity/fan interaction
Celebrity/fame addiction as cultural change
The intersection of stars and fans in virtual and physical spaces (Twitter, Tumblr, conventions)
Celebrity and the construction of persona
Pedagogical approaches to teaching stardom and fandom
Anti-fans and ‘haters’
Fan shame, wank, and fandom policing
Gendered constructions of stars and fans
Historical studies of fandom and fan/celebrity interaction

All proposals must be submitted through the conference’s database at

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at

Individual proposals for 15 minute papers must include an abstract of approximately 200-500 words. Including a brief bio in the body of the proposal form is encouraged, but not required. For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.

SWPACA offers monetary awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due December 1. For more information, visit

Registration and travel information for the conference is available at

If you have any questions about the Stardom and Fandom area, please contact its Area Chair, Lynn Zubernis, at We look forward to receiving your submissions.

Extended CFP Australian Fandom book

September 5, 2016

We are delighted with the many wonderful abstracts we have received, and thank all prospective authors for their proposals.

To complete the various themes of the book we are now specifically requesting abstracts exploring the following themes:

Downloading and Streaming in Australia (the impact of Netflix on Australian viewing; immediate access to series such as Game of Thrones or The Walking Dead; avoiding spoilers etc.)
Australian fandom and the Asia Pacific (Anime, KPop, JPop, Bollywood etc.)
Investigating fandom of Australian film and Television productions (Kath and Kim, Underbelly, Offspring, Summer Heights High etc.)
The extended deadline for submissions is September 17 2016.

Please see the original CFP (below) for submission instructions.


Online, offline and transcultural spaces in Australian Fandom

Australian fans have access to a wide array of popular culture content from around the world, developing relationships with these products that are as rich as fans from other parts of the globe. Until recently access to media products is limited by temporal and spatial distance from countries of origin. Yet, at the same time practices from diaspora communities to preserve cultural identity introduces a multitude of global media content to a wider Australian audience. Australian fans thus engage with a mixture of ‘conventional’ and ‘niche’ media products that places them both within the margins and in the mainstream. While there may be parallels between Australia and other nations with multicultural communities, the geographical location, history and cultural mix of Australian society give rise to unique contexts shaping the consumption and practices of Australian fans.

We thus ask the question: What makes the Australian fan experience unique? What influence does geo-political location have on the consumption and appropriation of popular culture in the Australian context? What impact does Australian multicultural society have on exposure and access to popular culture? What drives Australian fan interaction with global popular culture, and how does this interaction intersect with narratives of ‘Australian-ness’ in local and globalised contexts?

This book seeks to explore the specific and unique experience of being fans living and Australia.

We seek authors to contribute critical chapters for an edited volume to be submitted to University of Iowa Press. Topics include but are not limited to:
Online fandom
Offline fandom (including convention attendance, fan-celebrity interaction etc)
Fan perceptions of celebrity brands/identities/public persona
Fan fiction
Cosplay culture
Anime culture
Manga culture
Subcultures of fandom
Transcultural fan practices (e.g. fan Subbers)
World cinema fandom
Cult cinema fandom
Comic book fandom
Distribution practices including Fast tracked television, Streaming services and Netflix
Fandom and national identity

Please email 300 word abstracts and your CV to both Celia Lam and Jackie Raphael by September 17 2016. Proposals should be for original chapters that have not been previously published (including conference proceedings), and are not under consideration from other journals or edited collections.

Dr. Celia Lam is Lecturer in Media and Communications, School of Arts and Sciences, University of Notre Dame Australia, Sydney (

Dr. Jackie Raphael is Lecturer in Design, School of Design and Art, Curtin University (

CFP: Revisiting the Aca-fan Concept with and beyond Jenkins

September 5, 2016

CFP: Call for Submissions for chapters in an edited book
Book title: *Revisiting the Aca-fan Concept with and beyond Jenkins*
Submission deadline: October 1st, 2016.
Editor: Prof. Frédéric Gimello-Mesplomb – Centre Norbert Elias (Eds.)
Publisher: Routledge


Jenkins has described himself as an “Aca-fan”, a term that first gained currency in the early 1990’s. Jenkins is further credited with helping in the wide-spread popularization of the term, together with Matt Hills’ concept of the “fan-academic”, that describes an academic who consciously identifies and writes as a fan. Jenkins’s theories was extensively discussed in 2011, in a special issue of Cultural Studies edited by James Hay and Nick Couldry but this volume did not focus on the Aca-fan concept. Furthermore, over the past several years and in spite of the Hills or Jenkins partial responses (Hills has enlighten his approach of the acafan in « Media Academics as Media Audiences: Aesthetic Judgements in Media and Cultural Studies », 2007) and the few papers published worldwide (Maigret-Macé, 2005; Booth, 2013; Cristofari-Guitton, 2015, Gimello-Vilatte, 2015), the academic community (including fandom studies scholars) had not yet deeply explored the perimeter of the Aca-fan concept as a whole topic of study. More recently, Paul Booth acknowledged that the ‘Aca-fan’ “does not do enough to involve fans in the process of research”, (Booth, 2013) while Bruno Cailler and Cécile Masoni observed an antagonism between both communities (Masoni-Cailler, 2015). Paradoxically, while Jenkins most powerful concepts such as transmedia convergence or participatory audiences were dissected worldwide, the Aca-fan heuristic values remain relatively neglected and under-discussed within the academic field.

*Statement of Aims*
Guided by these questions, we are seeking chapters for an edited collection that historicizes, interrogates and problematizes the Aca-fan concept as a stimulating framework. The aim of this edited volume is to both revisiting and reinterpret, from an epistemological perspective, several research defined key concepts that have formulated “fan-academic” propositions with and beyond Hills and Jenkins among others. Editors are especially interested in testimonies from academics engaged in emerging academic fields, where the Aca-fan concept is familiarized such as studies in performing arts, popular music, digital games, media studies, communication sciences, or audience theory and media epistemology, just to name a few.

We invite prospective participants to submit a 500 words abstract that draws upon empirical and/or critical approaches through the exploration of Aca-fan contemporary and/or historical issues. Chapters may address (but are not limited to) the following topics:

*Analyzing early profane and academic works, prior to Hills and Jenkins, that are devoted to academic fandom such as “An Ethnography of Star Trek Fandom” (Di Costanzo, 1977) or “Thinking About Slash/Thinking About Women” (Bjorklund, 1988), among others.
*Case studies stemming from scholars implementing the Aca-fan concept in their classes and further questioning the impact of such, from an epistemological perspective.
*The Aca-fan concept: concerning a practice-based Audience theory and Reception Studies
*Discussing Social Science Methodology through the Aca-fan: Is the scholar a fan just “like the others”?
*What is the concept meaning to non Aca-fan scholars?
*Legally introduce scholar’s tastes and quality judgment through academic writings: A (new) form of criticism?
*Participant Observation Data Collection method
* Analysis of academic debates regarding Aca-Fandom rhetoric

Please submit a 500 word abstract, a list of 10 references and a brief biography to Centre Norbert Elias – Prof. Frédéric Gimello-Mesplomb (cne-ecc@[alt] by *October 1st, 2016. *Successful submissions will be notified on October 15th. Upon acceptance, full articles (between 6000 and 8000 words, including references) will be due at the latest on the 1st of December.