Author Archive

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 barry.king@aut.ac.nz and d.c.sturm@leedsbeckett.ac.uk 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: warinthewhedonverses.wordpress.com

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  warinthewhedonverses@gmail.com. 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.  

CFP: CONVERGENCE CULTURE, FANDOM, AND THE EXPANDED /HARRY POTTER/ UNIVERSE

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

convergencepotter@gmail.com <mailto:convergencepotter@gmail.com>

Call for Chapters: Star Wars and the History of Transmedia Storytelling

September 3, 2016

CALL FOR CHAPTERS:

Star Wars and the History of Transmedia Storytelling
Edited by Sean A. Guynes and Dan Hassler-Forest

We seek chapter proposals for a volume titled Star Wars and the History of Transmedia Storytelling, which aims to provide an account of the history of the franchise, its transmedia storytelling and world-building strategies, and the consumer practices that have engaged with, contributed to, and sometimes also challenged the development of the Star Wars franchise. We aim to have the collection in print by 2017, the year that marks the 40th anniversary of the first Star Wars film’s release. In those forty years, its narrative, its characters, and its fictional universe have gone far beyond the original film and have spread rapidly across multiple media—including television, books, games, comics, toys, fashion, and theme parks—to become the most lucrative franchise in the current media landscape, recently valued by Forbes at roughly $10 billion (Damodaran 2016).

A key goal of this project is to highlight the role and influence of Star Wars in pushing the boundaries of transmedia storytelling by making world-building a cornerstone of media franchises since the late 1970s. The chapters in this collection will ultimately demonstrate that Star Wars laid the foundations for the forms of convergence culture that rule the media industries today. As a commercial entertainment property and meaningful platform for audience participation, Star Wars created lifelong fans (and consumers) by continuing to develop characters and plots beyond the original text and by spreading that storyworld across as many media platforms as possible.

While there is much to be said about recent installments in the franchise, we discourage submissions that focusexclusively on Star Wars texts produced since the sale to Disney in 2012. Priority will be given to those submissions that demonstrate an ability to engage with the breadth of Star Wars media and fan activity, including (but not limited to) digital and analog games, novels, comics, televisions shows, tie-in merchandise, fanfic, and Star Wars events, places, and gatherings (conventions, exhibitions, shows, theme parks, performances, etc.); or that bring new approaches from transmedia and franchise studies to old topics. Chapters solicited from invited authors, for example, already propose a broad range of topics, including transmedia worldbuilding in comics and novels surrounding the original trilogy; the limits and criteria that define the limits of “A Star Wars Story”; transmedia erasure and the Holiday Special; and theStar Wars collectible card game.

Submissions might consider, but are certainly not restricted to, some of the following topics:

  • Children’s media, kidification, and Star Wars
  • Star Wars and/on television
  • Star Wars video games
  • Transmedia “metaseries,” e.g. Dark Empire
  • Star Wars comics and graphic novels
  • (Un)Adaptation and Dark Horse’s The Star Wars (2013-2014)
  • Licensing, intellectual property, and canon
  • Star Wars “Legends” imprint of novels and comics
  • Children’s literature, YA literature, andStar Wars novels
  • Star Wars and fandom, cosplay, fanfic, consumption practices, collecting
  • Generational shifts in Star Wars fandom and creators as consumers
  • Gender, race, and sexuality in Star Wars(especially where readings of lesser known characters, novels, comics are forwarded)
  • Genre flexibility across Star Wars media
  • Star Wars action figures and world-building through play
  • Star Wars (tabletop) role-playing games
  • Star Wars merchandising, franchising, and branding
  • Mash-up/remix culture and Star Wars
  • Music in and across Star Wars media

If you have any questions, do not hesitate to contact the editors about the suitability of your topic for the collection.

Submissions should include a provisional title, a 200-word abstract, and a 100-word biographical note. Abstract submissions are due by October 1, 2016.

Please send submissions simultaneously to both editors, Sean A. Guynes (guynesse@msu.edu) and Dan Hassler-Forest (d.a.hassler-forest@uu.nl), with the subject line “SURNAME Star Wars Transmedia Book.”

Drafts will be due February 5, 2017, with a quick turnaround for editing and revisions so as to publish by Autumn 2017 before the 40th anniversary year ends.

CFP: LOCATING IMAGINATION: POPULAR CULTURE, TOURISM, AND BELONGING

September 1, 2016

LOCATING IMAGINATION: POPULAR CULTURE, TOURISM, AND BELONGING

APRIL 5-7 2017

ERASMUS UNIVERSITY ROTTERDAM 

Keynote Speakers:

David Morley

David Crouch

Marie-Laure Ryan

When the small Dutch seaside village of Urk was announced as a filming location for superstar director Christopher Nolan’s historical drama
Dunkirk, featuring One Direction star Harry Styles and other big names, it was unsurprising that reports of fans traveling in hopes of catching a glimpse of the production followed. Indeed, it would have been more surprising if they hadn’t. Visiting places connected to media is increasingly mainstream – from searching for film locations of popular TV shows to taking part in literary walking tours to traveling around summer music festivals. Popular culture sets the touristic identity of regions, while fan conventions and festivals draw increasing numbers (and prices) year after year. These developments, and others like them, point to a growing interest in bridging the gap between reality and imagination through physicality, intertwining them in new ways.

They also illustrate new ways in which place, and its role in creating a sense of identity and belonging, matters in a globalized and digital world in which popular culture plays an integral role.

This conference brings together these disparate threads and explores the ways in which popular culture and tourism interact in the contemporary media age. This is reflected in the keynote speakers: Professor David Morley of Goldsmiths University, author of many influential works of media theory, including The Nationwide Audience (1980) and Media, Modernity, and Technology: the Geography of the New (2007); Professor David Crouch, Professor Emeritus in Cultural Geography and Senior Research Fellow at the University of Derby, author of
Flirting with Space: Journeys and Creativity (2010) and editor of  The Media and the Tourist Imagination (2005); and Dr. Marie-Laure Ryan, author of Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media
(2000) and Narrating Space/Spatializing Narrative: Where Narrative Theory and Geography Meet (2016, with Kenneth Foote and Maoz Azaryahu).

We seek to bring together scholars across disciplines, including, but not limited to, media studies, literary studies, popular music studies, ethnomusicology, cultural geography, fan studies, and tourism studies and management, who work at the intersections of (popular) culture, place, and tourism. We invite papers that address all themes around this subject, such as:

fan pilgrimages

place identity and popular culture

contemporary literary tourism

music tourism

·        historical media tourism

·        themed and simulated spaces

·        music festivals

·        video-game-inspired tourism

·        media and fan conventions

·        transmedia marketing and tourism

·        place and storytelling

·        media tourism in the media

The conference will be held at Erasmus University Rotterdam, in Rotterdam, the Netherlands. Recently chosen as one of the “best places to visit” by Lonely Planet and the New York Times, Rotterdam is a vibrant and cosmopolitan city featuring cutting-edge architecture, an innovative dining scene, and top-class art museums. The conference is organized by the ‘Locating Imagination’ research group of prof. dr. Stijn Reijnders, Leonieke Bolderman, Nicky van Es, and Abby Waysdorf, and sponsored by the Netherlands Organisation for Scientific Research (NWO) and the Erasmus Research Centre for Media, Communication and Culture (ERMeCC).

Please send abstracts of max. 300 words and a short biographical statement (max. 50 words) to conference@locatingimagination.com before November 1st, 2016.

CFP: ​POPULAR CULTURE ASSOCIATION FAN CULTURE AND THEORY

August 31, 2016

​POPULAR CULTURE ASSOCIATION

FAN CULTURE AND THEORY

APRIL 12-15 2017, SAN DIEGO

CALL FOR PAPERS

DEADLINE: OCTOBER 1, 2016
Proposals for both panels and individual papers are now being accepted for all aspects of Fan Culture and Theory, including, but not limited to, the following areas:

•Fan Fiction

•Fan/Creator interaction

•Race, Gender and Sexuality in Fandom

•Music Fandom

•Reality Television Fandom

•The Internet and Fandom – Live Journal, IMDB and beyond

•Fan Communities

•Fan Media Production – icons, fanvids,  fan art and filk.

•Fans as Critics

•Fan videos

•Fan crafts

•Fan pilgrimages
For more information on the conference go here:

https://conference.pcaaca.org/
To submit a proposal go here:

https://conference.pcaaca.org/node/add/presentation
Please send  queries  to:

Katherine Larsen

The George Washington University

Ames Hall 223

2100 Foxhall Road NW

Washington D.C. 20007

(202) 242 5090

klarsen@gwu.edu

PopMatters CFP: Star Trek’s 50th Anniversary 

July 26, 2016

​When Star Trek debuted on NBC on September 8, 1966, there was little indication that its longevity across multiple platforms (films, series, books) would rival that of series such as Doctor Who, or that the series (and its fans) would become fixtures of popular culture, objects of academic study, and an outsized influence on science fiction.

 
This year marks the 50th anniversary of the hit franchise, and celebrations of its cultural impact have been as varied as the show’s own incarnations.
 
To celebrate this momentous anniversary, PopMatters seeks submissions about Star Trek, including: the television series, from The Original Series (TOS) to the highly anticipated 2017 new installment; the films, both the originals and the J.J. Abrams reboot; and ancillary materials such as novelizations, comic books, videogames, etc.
 
We welcome any approach to the franchise, though possible topics may include:
 
Identity: How has Star Trek’s representation of gender, race, and/or sexuality changed over time? In what ways has the franchise been progressive/regressive in matters of representation? Is it possible to read Star Trek queerly?
 
Technology: What role has Star Trek played in spurring technological innovation, especially regarding mid-century space exploration? Has the franchise changed the relationship between pop culture and science?
 
Culture: What role have alien languages (such as Klingon) played in the show and its wider cultural impact? How has Star Trek impacted fashion over the years? How has meme culture, or any other subcultures, appropriated Star Trek?
 
Fandom: What role does the Star Trek fandom play in the production of ancillary content like comics, novelizations, and video games? How do the disputes between the ‘original’ fans and the ‘reboot’ fans affect the Star Trek franchise? What role does unofficial material play in Star Trek ownership?
 
Remakes, Reboots and Continuity: What responsibility, if any, do the reboots have to the original franchise’s fan base? What role do original cast cameos play in maintaining continuity between the early films and the later ones? Does the idea of “canon” or “canonicity” hold any sway given Star Trek’s multiple iterations? How do initial critical reactions compare with modern expectations and experiences?
 
Influence: How has Star Trek influenced science fiction film and television more generally? Does the series have descendants, responses, opposites? What have been the show’s own influences? Are there novels or mythologies that have contributed to the franchise’s main themes?
 
Politics: In what ways does the franchise invite comparisons between its fictional content and potential real-world analogues? Is Star Trek inherently political? Does it encourage a rethinking of the division between political art and entertainment media?
 
Other areas of interest may include: Disability, age, special effects, and comparable productions (Roddenberry and Andromeda, Abrams and Star Wars, for example).
 
Deadline for Features pitches: August 12th, 2016
 
Deadline for final, polished articles: September 9th, 2016
 
For television, please submit your pitches and features to PopMatters’ editor Erin Giannini; for film, please submit your pitches and features to Carl Wilson and Desirae Embree using the PopMatters / Submittable interface: https://popmatters.submittable.com/submit
 
Be sure to identify your article as StarTrek50 in the header.

Send inquiries or questions to: filmsubmissions@popmatters.com

​CFP: Videographic Approaches to World Cinema and Transnational Circulation

July 26, 2016

​CFP: Videographic Approaches to World Cinema and Transnational Circulation

Society for Cinema and Media Studies Conference, Chicago, March 22-26, 2017

This panel seeks works of videographic criticism (or papers that address methodological and/or theoretical questions about this [new] form of scholarship) that look beyond the “text itself” to explore broader industrial questions about the processes through which films circulate. The videographic mode opens up rhetorical possibilities often unattainable via traditional modes of scholarship. Although it has been used overwhelmingly for—and is well suited to—close textual analysis, it simultaneously offers intriguing possibilities/challenges for explorations of other aspects of film culture such as exhibition, distribution, audience reception, and so on.

We are especially interested in proposals that address transnational circulation and/or issues related to World Cinema. Possible topics include:

Distribution
Exhibition
Promotion (trailers, posters, etc.) and Branding
Paratexts (including opening titles, DVD packaging, making-of docs, etc.)
Film reviewing/criticism
Film Festivals
Subtitles, Dubbing and Translation
DVDs and streaming platforms
Celebrity/red carpet/awards shows
Audiences/fandom/fan vids
Social media (Youtube, Instagram, Vine, etc.)
Piracy and copyright
 

Please submit a 300-word abstract and brief bio to David Richler <david.richler@carleton.ca> and Michael Talbott  <michael.talbott@castleton.edu> by Friday, August 12.

CFP: Science Fiction Film and Television

July 24, 2016

Science Fiction Film and Television is seeking articles for a special
issue on Women & Science Fiction Media, intended to mark the 200th year anniversary of the publication of Mary Shelley’s Frankenstein

Although sf was once stereotyped as a male genre, more recently women’s contributions as authors, fans, editors, and more have become more widely
acknowledged. Central to this new understanding of women’s contributions to sf has been the realization that women have always been a part of the genre, resisting another stereotype that links women’s emergence in the field to the feminist fiction of the 1960s
and 1970s. In recognition of the bicentenary of the publication of Frankenstein (1818) by Mary Shelley, arguably the first sf novel, we seek essays that recognize, interrogate, respond to and celebrate women’s contributions to media sf. We are interested
in reviewing any work that explores this topic, but we are particularly interested in contributions on the following topics:
 

·       Female directors of sf film
and television

·       Female sf showrunners

·       Female scriptwriters in sf

·       Gender and Mary Shelley’s
legacy in sf’s imagination of created beings

·       Frankenstein remakes,
adaptations, reboots and reinventions

·       Gender and casting, and character
arc in media sf 

·       Gender in sf fandom and criticism

Articles should be 7000 to 9000 words in length, including footnotes and bibliography. Submissions (in word or rtf, following MLA style) should be
made via our website at http://mc.manuscriptcentral.com/lup-sfftv
 

Any queries should be directed to the editors, Mark Bould (mark.bould@gmail.com)
Gerry 
Canavan (gerrycanavan@gmail.com) and Sherryl Vint  (sherryl.vint@gmail.com).

The deadline for submissions for this special issue is March 15, 2017.

​CfP: Fantastic Fan Cultures and the Sacred

July 20, 2016

​Call for Submissions for an anthology volume: Fantastic Fan Cultures and the Sacred
They ways in which people pursue religion has changed in America and the West. Traditional, institutional religions are in decline, and even among those who claim “None” as their identity, an individualized spirituality of seeking is growing in popularity. As a part of this quest, the sacred often comes in seemingly nonreligious forms. Gary Laderman, a scholar of religion asks in light of this situation:
“So what if the sacred is not only, or even primarily, tied to theology or religious identity labels like more, less, and not religious? We might see how religious practices and commitments emanate from unlikely sources today…”

One of those unlike sources of the sacred is fantastic fan cultures. Science fiction, fantasy, and horror genres are incredibly popular and have become multimillion dollar facets of the entertainment industry. But there is more here than meets the eye. Fantastic fandom has also spawned subcultures that include sacred aspects.
Fantastic Fan Cultures and the Sacred will be an edited anthology that explores the sacred aspects of fantastic fandom.  Its content will be academically informed, but accessible to average readers so that it appeals not only to scholars wanting to learn more about pop culture and religion, but also to average fans who will expand their understanding of their fandom and culture.
Possible topics for this volume include but are not limited to:
•         Buffyverse fandom and other genre “cult fandoms”

•         Collecting and sacred relics – Of special interest is Guillermo del Toro’s and Bleak House, and his connection of this to his unique form of primal spirituality:  “I’m not a collector. I’m a religious man.”

•         Convention participation as religious pilgrimage

•         Cosplay as immersion in sacred narrative and identity

•         Fantasy and science fiction conventions as Transformational Festivals (akin to Burning Man Festival)

•         Horror conventions as worlds “of gods and monsters”

•         Pop culture phrases as sacred wisdom teachings

•         Science fiction, fantasy, and horror as sacred narratives and mythology

•         Star Trek fandom as secular civil religion/spirituality
This volume will be edited by John Morehead. Morehead is the proprietor of TheoFantastique.com  He has contributed to various online and print publications including Cinefantastique Online, the Journal of the Fantastic in the Arts, and Extrapolation. In addition, he is the co-editor of The Undead and Theology, Joss Whedon and Religion, and the editor of The Supernatural Cinema of Guillermo del Toro.
Those interested in being a part of this volume are encouraged to send a 300 word proposal and your curriculum vitae by email. Both should be in MSWord or PDF format. The deadline for submission is September 2, 2016. Materials and questions should be sent to John Morehead at johnwmorehead@msn.com