Intellect is delighted to announce that the new issue of Journal of Interdisciplinary Voice Studies 2.1 is now available.
Articles within this issue include (partial list):
Authors: Joshua Hill
Page Start: 7
Kenneth Burke’s idea of ‘eloquence’ provides a useful theory for understanding the various possible impacts of voice in advertising and branding. Burkeian ‘eloquence’ is defined as the right choice and arrangement of linguistic details that best meet the formal requirements emerging in a particular culture and society from the underlying forms common to all people through our common physical, psychological, and linguistic nature as humans. Here, this theory is explained and distilled into a spectrum that stretches between textual/vocal products that centre on a rational symbolsystem and textual/vocal products that meet human metabiologic demands for eloquent form leading to moments of aesthetic transcendence. Also discussed are the ethics of using for capitalistic purposes our human bent towards the ‘beauty and joy’ of transcendent language.
Authors: Ellen Mareneck
Page Start: 45
Children who stutter (CWS) face enormous challenges: from bullying and peer rejection to embarrassment, shame and despair. Often these young people shut down and retreat into silence. The Stuttering Association for the Young (SAY), a nonprofit organization in New York City, is dedicated to improving the lives of CWS. SAY uses the performing arts, speech therapy and a sleep-away camp to create community, nurture the individual, and advocate for CWS through education and performance. This article examines SAY as a therapeutic model for Children and Adolescents Who Stutter. SAY’s three-pronged approach of empowerment, education, and support provides CWS with a much-needed community in which they find self-acceptance, communicative confidence, and the courage to achieve their goals.
Authors: Gelsey Bell and Pauline Oliveros
Page Start: 67
In this conversation from 2014, composer Pauline Oliveros, one of the most important figures in American experimental music, provides insight into her relationship with the voice and when in her career it was most pivotal for her compositional development. Oliveros touches on her 1961 choral piece ‘Sound Patterns’, her ‘Sonic Meditations’, the works she performed for voice and accordion in the 1970s and 1980s, ‘Deep Listening’, and the late operas that she made with her partner, vocalist and poet Ione.
JAWS Call for Papers for Volume 3 Issue 1&2
Submission deadline: Monday 7 May 2017
Editors: Francesca Peschier, Robert Gadie and Ruth Solomons
JAWS is the only academic arts journal run by and dedicated to postgraduate students (and those who have recent graduated). It has published work by students from India, China, Australia, North America, Canada and the UK, and maintains an international peer review network.
The editors are seeking:
- Theoretical and discursive essays up to 5000 words.
- Critical reviews of events, exhibitions or performances up to 3000 words.
- Visual essays about art practice (demonstrating a research approach, and if possible responding to the journal format), including images or stills, plus up to 1000 words.
- All work must be prefaced with a 100 word abstract and 6-8 keywords.
- Please include your university affiliation, full name, course and year or graduation.
- All work must use Harvard referencing, following Intellect House Style.
- For full submission guidelines please refer to www.jawsjournal.com/submissions.
Volume 1 Issue 1 is available for free at: http://www.ingentaconnect.com/content/
Guest editorials from previous issues are also available for free, including those by Dr Sophie Hope (Birkbeck), Dr Inger Mewburn (the Thesis Whisperer) and Joseph Heathcott (The New School of Design).
For all inquires please email firstname.lastname@example.org or email@example.com.
Intellect is delighted to announce that the latest issue of Clothing Cultures 3.3 is now available.
This special issue of Clothing Cultures focuses on Dress Culture in Imperial Russia from the reign of Peter the Great (1682-1725) to the October Revolution of 1917. This issue intends to explore dress as a cultural and social phenomenon within the imperial historical framework and show how the production and circulation of material artefacts in cultural and artistic texts resulted in the construction of meaning. Authors in this issue demonstrate how dress was received in a variety of cultural contexts, in which it manifested aesthetic, ideological and social ideas. They employ methodological frameworks taken from the fields of structuralism and semiotics, as well as theories of reception and performance. The issue is organised in a historical progression from the eighteenth to the very beginning of the twentieth century.
Articles within this issue include (partial list):
Authors: Victoria Ivleva
Page Start: 171
This article explores the ‘cultural biography’ of the caftan, a garment, which underwent significant changes as a part of Peter I’s urban clothing revolution. The article discusses the evolution of the caftan and changes in its functions and meanings, its historical, social and literary modes of circulation and the semiotic value it acquired in the eighteenth-century clothing system, and more broadly in eighteenth-century Russian culture. As a key garment of the Petrine dress reforms, the caftan became a material symbol of eighteenth-century modernizing processes and was often employed by writers to comment on social and cultural policies and practices. When the caftan (as part of a uniform) started to be associated with state control and the infringement on individual freedom, it was replaced by the dressing gown, which became a symbol of internal peace, freedom and creativity in literature and cultural life.
Authors: Svetlana A. Amelekhina and Daniel Green
Page Start: 191
Russian rulers introduced numerous dress reforms in the imperial period, transforming the appearance of state institutions and thus the image of Russia and its elite. This article traces the origins and development of ‘Russian dress’, a stylised version of female Russian folk costume introduced to the Russian court by Catherine the Great (1762–1796) and worn, in various forms, from the 1770s to 1917. It examines the symbolic role ‘Russian dress’ played in shaping the image of the ruler, Russia’s relationship with the West, and shifting notions of Russianness at home and abroad.
Intellect is delighted to announce that the new issue of JAWS: Journal of Arts Writing by Students 2.2 is now available.
Articles within this issue (partial list):
Authors: Petra Swais
Page Start: 93
This essay discusses the recent Egyptian revolution and the surge of art that materialised and consequently contributed to the fuelling and documenting of the demonstrations. Considering the urgency and immediate need to create in a coming together of a people, this is analysed against Arendt’s theories of revolution and reflected against ‘Opera from Balconies’, an experimental theatrical project that took place spontaneously in various neighbourhoods in cities across the Egyptian Delta. It discusses echo of hope through collective engagement from the space of Tahrir Square to the domestic neighbourhoods of the ‘Opera from Balconies’ project.
Authors: Julia Cunningham
Page Start: 105
This article is an enquiry into the meditative and unconscious processes of the mind. In critical thought there appears to be a gap where the art object has been elevated above the artist process. What has been lost is a study into the psychoanalytic, creative and meditative qualities of both written and creative systems. This article draws from theories of meditative practice, as well as contemporary practitioners including Marina Abramović and Zhang Huan. The aims of this study are to augment process, lead discussion and create discourse in the context of meditative, performative and immaterial dialogues.
Authors: Elizabeth Monahan
Page Start: 127
Our way of seeing and interpreting the visual world are a highly personal and diverse experience. These are the cornerstones of image making, the results of which can offer thought-provoking glimpses into another person’s view of the world, and can make us question our own. This reflective article grapples with the process of creating drawn interpretations of visual perception, specifically that of facial pareidolia, and attempts to share this ‘felt’ process. However, although an interest in pareidolia initiated the study, other concerns emerge: the process of looking and how drawing can navigate issues of time, space and movement.
Intellect is delighted to announce that the new issue of Metal Music Studies 3.1 is now available.
Articles in this issue include (partial list):
Authors: Catherine Hoad
Page Start: 5
This article explores the creation and circulation of online fan fiction about heavy metal performers. Heavy metal fan fiction, which is overwhelmingly created and consumed by young women, allows girls not only to actively assert themselves within this form of music fandom, but also to renegotiate hegemonic codes of hyper-heterosexual masculinity within heavy metal discourses. The queering of metal masculinity through slash (male/male) fiction further demonstrates how such practices deconstruct heavy metal’s gender norms and actually slash the rigid strictures of metal masculinity in the process. These constellations of sexuality, gender and metal fandom have thus enabled girls to redefine their own resistant spaces within a masculinist subculture.
Authors: Benjamin Hedge Olson
Page Start: 47
This article explores the religious dimensions of the metal scene in the Hawaiian Islands. While most scenes are large enough or have enough access to external scenes to segregate overtly Christian metal from metal that is hostile to Christianity, the metal scene in Hawai‘i must accommodate a wide range of religious perspectives as a result of its small size and geographic isolation. Bands that glorify Satanism or are deeply critical of Christianity must share stages with aggressively evangelical bands, creating significant discursive tension within the scene. As in metal scenes across the globe, the metal scene in Hawai‘i is preoccupied with religion in a variety of ways. How this religious preoccupation play itself out reflects local tension, hostilities and anxieties within the scene in question.
Authors: Justin J. Roberts
Page Start: 63
Heavy metal has drawn inspiration from literature almost from the genre’s inception. Iron Maiden has fully embraced literary allusion and adaptation in its songwriting approach. This article examines one of the band’s most ambitious adaptations, ‘Rime of the Ancient Mariner’ (1984) and the unique ways the band adapts Samuel Taylor Coleridge’s poem. Lyrically, songwriter Steve Harris conflates both Coleridge’s poem and subsequent glossing, joining the two elements to present the tale. Additionally, the members of Iron Maiden compose a lengthy song with numerous movements, the different musical themes working with the tale’s textual themes to deepen and complicate the adaptation, interpreting not just the words but also the underlying moods and philosophical and narrative themes of Coleridge’s texts in the song.
Intellect is delighted to share a selection select of abstract articles from the forthcoming, inaugural issue of the Indian Theatre Journal:
Homeland as ‘Beloved’: Translating viraha for (post)colonial contexts
Authors: Cynthia Ling Lee
This article discusses how Pallabi Chakravorty’s Asun der and Cynthia Ling Lee’s fish hook tongue, two contemporary works by kathak-trained choreographers, intervene in the nationalist discourse surrounding classical Indian dance by translating the aesthetic concept of viraha for politicized (post)colonial contexts. The two works refuse to perform Indian nationalist representations of kathak that uphold respectable Hindu femininity imbued with the Orientalist weight of timeless, immutable ‘tradition’. Instead, Asunder and fish hook tongue depart from classical practice and Indian nationalist representations of kathak by replacing the traditional Beloved of kathak abhinaya with a new love object: the troubled, (post)colonial homeland. I draw on Svetlana Boym’s theorizations of nostalgia to argue that these two works, which are grounded in critical histories rather than timeless myth, reimagine viraha as critical reflective nostalgia, as the impossible longing of a diasporic subject for union with a broken homeland. Asunder addresses the Partition of India by evoking longing for an undivided India that interweaves Muslim and Hindu influences, while fish hook tongue re-territorializes and reconfigures viraha as the visceral longing to speak one’s mother tongue of Taiwanese against the silencing forces of colonization and assimilation.
Grotowski and the Indian tradition
Authors: Maria Krzysztof Byrski
The question of Grotowski’s Indian affiliations in his theatrical experiments is long discussed. In the article presented, an attempt is made to tackle this problem. What absorbs Grotowski into the Indian tradition is a question that remains still fascinating in many ways. My conclusion is that it was first of all Grotowski’s fascination with the Indian spirituality as personified by Ramana Maharishi of Arunachala that made him especially sensitive to what the Indian culture could offer and not so much his acquaintance with the Indian theatre tradition, which was rather fragmentary and occidental. While travelling in India, he was more interested in the religiously motivated performances of the Bauls of Bengal than in regular theatre, neither classical nor modern.
Rabindranath Tagore and the Bauls: Representation and performance of Bauls as sociopolitical actors
Authors: Sukanya Chakrabarti
This article reveals the relationship between Rabindranath Tagore and the Bauls against the backdrop of the politics of nationalism between the late nineteenth and the early twentieth century in Bengal. Tagore’s works – including novels (Gora and Ghare Baire), play, Phalguni and songs composed between 1900 and 1920 – are thoroughly influenced by the ideologies of Bauls, whose liminal identities (of being in the world and yet outside of it) play a significant part in the formation of his political, philosophical and spiritual identity. Tagore’s subsequent popularity amongst the middle-class bourgeois Bengalis, in turn, shapes the representation of Bauls more as political rather than merely spiritual, musical or cultural performers of Bengal. From a marginal and ‘shameful’ social positionality, Tagore’s portrayal of Bauls transforms them into political figures and agents of self-reflection, reform and covert resistance to hegemonic powers of control and domination through their world-view, performance and lifestyle.
Intellect is delighted to announce that the Journal of Italian Cinema & Media Studies 5.2 is now available.
This special issue of JICMS is dedicated to ‘Italian Horror Cinema’. In both fan culture and the academy (which are frequently connected), Italian horror films have been singled out for their alleged transgressions, and the challenges they arguably pose to various ‘norms’, ‘whether these be aesthetic norms of commercial mainstream cinema film-making or broader social and ideological norms’ (Hutchings 2003: 132). This special issue seeks to engage with this developing trend, as an outlet for such trans-disciplinary research: sitting within the concerns of both Film Studies and Italian Studies, while embracing the exigencies of historically informed nuance.
Articles within this issue include (partial list):
Authors: Alexia Kannas
Page Start: 173
Recent scholarship on the giallo film – and Italian horror more broadly – has emphasised the use of the Italian term filone (‘thread’ or ‘streamlet’) instead of ‘genre’ to describe the particular production contexts of Italian genre film in the post-war period. This article considers how and why the giallo problematizes film genre as it is traditionally conceived, and argues that the giallo film is uniquely positioned to pose fundamental questions about genre as a theoretical system, as well as to question the task of genre criticism itself. Through an examination of historical approaches to film genre via the giallo case study, the article shows how this group of films debunks theories of generic evolution and complicates the notion of generic hybridity. Whilst challenging the cultural hegemony of Hollywood, framing the giallo as a genre demands a radical conceptualisation of genre systems that more readily accommodates their propensity to shift and change over time.
Authors: Todd K. Platts
Page Start: 191
This study shines light on the general factors involved in film cycle development and non-development through a focus on Dawn of the Dead’s (Romero, 1978/79) influence in the Italian and US film markets. Four factors, commercial success, sociopolitical events and broader social currents, supporting cultural phenomena and ephemera, and industrial compatibility, are comparatively assessed with respect to the Italian zombie cycle from 1978 to 1981 and the lack of an American cycle from the same period. The comparative approach advanced in the article properly historicises the development of zombie cinema after one of its landmark films. Moreover, while the approach is applied to late 1970s/early 1980s zombie cinema, it offers a general analytic for future film cycle scholarship.
Authors: Stefano Baschiera
Page Start: 245
This article investigates the distribution of Italian horror cinema in the age of video streaming, analysing its presence and categorisation on the platform Lovefilm Instant UK, in order to investigate the importance of ‘niche’ in what is known as the long tail of online distribution and the online availability of exploitation films. The author argues that looking at the streaming presence of Italian horror and comparing it to its prior distribution on home video formats (in particular VHS and DVD) we can grasp how distribution and access have shaped the understanding of the genre. In particular, this article addresses the question of the categorisation of the films made by the S-VOD services and the limits of streaming distribution, such as lack of persistency in availability and the need for enhanced curatorship.
Film Matters is seeking critical video essays made by undergraduate film scholars for its first issue of videographic film scholarship.
For more information about Film Matters, please click here.
Please email links to videos, with written statements attached as Microsoft Word documents, to: VideographicFM@gmail.com
All questions should be referred to Allison de Fren and Adam Hart at VideographicFM@gmail.com
Calls for video essays are open to any undergraduate student, currently enrolled at an institution of higher learning worldwide and working towards a Bachelor’s degree in any field. Recent graduates are also eligible, providing they submit to a call, the deadline for which occurs within six months from their graduation date (or up to a year, providing that the recent graduate is not enrolled in graduate school). Any original piece of videographic scholarship, involving film criticism, history, or theory will be considered for publication. By submitting a video for a call, authors are certifying that: (1) they are undergraduate students, currently enrolled at an institution of higher learning and working toward a Bachelor’s degree (or they are recent graduates of twelve months or less from the date of the call deadline, providing they are not enrolled in graduate school); and (2) their submitted videos are original pieces of scholarship, authored solely by them, and have not been published in any form, in any publication, heretofore.
Submissions must include two components: (1) a video essay of 3-8 minutes, uploaded to Vimeo. Note: please make your video essay private and include your link and chosen password on the cover sheet (see below); and, (2) an accompanying written statement (saved as a Microsoft Word document) of 1000 words maximum that explains the maker’s intentions. (NOTE: this should not simply be a transcript.)
The integral place of science in global society as well as the proliferation of science and technology on television, in films, and across the internet, makes it more important than ever to examine the dynamic and complex connections between popular culture and science.
Working with a distinguished international board, the Journal of Science and Popular Culture - a new, peer-reviewed academic publication - aims to create a unique forum in which to analyse, chronicle, and interpret the interrelationship of science and society. Contributions from academics, scientists, communicators, industry professionals, practitioners, and others with an interest in the interface of science and culture are now invited. The first issue will be published October 2017 with ongoing publication starting 2018. Submissions for the first issue must be received by April 30.
For more information about JSPC and its board, click here.
Full articles of 6,000-8,000 words (inclusive of notes, references and other material), shorter proposals, and inquiries can be sent to Steven Gil: firstname.lastname@example.org
CFP: Choreographic Practices: Performing Ecologies in a World in Crisis
Submission deadline: July 1st 2017
Guest Editors: Sondra Fraleigh and Robert Bingham
This issue is dedicated to exploring questions that connect dance and performance to a global context of environmental crisis. We invite submissions that consider how the choreographic, broadly conceived, interrogates and illuminates the nature of environmental crisis, explores the relationship of human and other-than-human world, and/or charts pathways towards a more sustainable and equitable future. In light of a growing sense of urgency around the need to change dominant patterns of thinking and practice in relation to planetary resources, we invite, in particular, submissions taking intellectual and aesthetic risks that push authors and readers alike to consider anew our place in the world as humans. We do not set limits on how environmental crisis is defined, welcoming submissions that connect dance and choreography to contexts of global warming, climate change, Anthropocene, species extinction, environmental justice, colonialism or other frameworks that focus on specific local or global crises and histories. We also welcome proposals that critique the notion of environmental crisis and its urgency. In keeping with the aesthetic and intellectual ethos of Choreographic Practices, we invite diverse perspectives taking the form of critical essays, creative documentation, blogs in print, visual essays, dialogues, interviews and debate. We encourage submissions in both conventional and alternative modes of writing, including performative and visual essays.
CP is seeking a broad range of perspectives addressing dance practices in relation to environmental crisis. Possible areas of focus in this respect include:
• Aesthetics of environmental crisis in dance and performance
• Animal studies and the human animal in dance
• Cultural studies, crisis, and dance
• Dance and performance in the Anthropocene
• Dance and somatic pedagogies in the Anthropocene
• Dance, spirituality and ecology
• Dance, capitalism, and crisis
• Eco-criticism and dance
• Ecological frameworks for dance and performance
• Eco-psychology and dance
• Environmental dance
• Movement arts and environmental humanities
• Site-specific dance and the environment
• Somatic psychology, dance and ecology
This special issue is due to be published in Spring 2018. Please submit completed contribution by July 1, 2017 to ChoreographicPractices@live.co.uk
If you have any questions about the theme or focus of your submission please, in the first instance, contact Sondra Fraleigh or Robert Bingham (guest editors for this special issue): email@example.com or firstname.lastname@example.org
Click here to download the call for papers and submission guidelines.