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CFP: Journal of Interdisciplinary Voice Studies 3.2

CALL FOR CONTRIBUTIONS: JOURNAL OF INTERDISCIPLINARY VOICE STUDIES 3:2

THEMED ISSUE: ‘VOICE, IDENTITY, CONTACT’

GUEST EDITOR: YVON BONENFANT, Professor of Artistic Process, Voice and Extended Practices, University of Winchester

The Journal of Interdisciplinary Voice Studies invites submissions from scholars in a wide array of fields that intersect with, and/or move beyond, voice studies: such as: theatre and performance studies, musicology, sound studies, cultural studies, materiality studies, philosophical discourses, clinical voice studies, speech studies and voice and speech science to consider, and respond to, the questions in our below call.

We are interested in exploring emerging and exciting approaches to how we might synthesise knowledge from across the voice and sound studies field to address the below questions in interesting ways.

PRACTICAL ISSUES:

1.         Interested in the theme? Read the below context statement and questions, and consider sending us a draft article for peer review.

2.         We seek articles approximately 5000 words in length. However, we are open to articles longer or shorter – we will be making a final selection of articles using curatorial principles.

3.         The ‘Voicings’ section of JIVS allows for discourses that are more narrative, report-like, poetic, or experimental in nature. You can consider sending us alternative writing forms that would take us inside your response to this call. Consult back issues of the journal for examples.

4.         Send your article to: Yvon Bonenfant at yvon.bonenfant@winchester.ac.uk

5.         Deadline for articles to reach us: September 30, 2017

As this call follows on from a symposium in January, 2017, we are aware there may be many more articles sent to us than this volume of JIVS can contain. Know that your article may be considered for future issues of JIVS, should it be of excellent quality, but not ‘map on’ to the thematics of this volume and its final curated format.

QUESTIONS AND CONTEXT STATEMENT:

 

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Personal Style Blogs: Appearances that Fascinate by Rosie Findlay

The lastest book to be added to our Cultural & Media Studies subject areas is Personal Style Blogs: Apperances that Fascinate by Rosie Findlay. 

From Style Rookie to Style Bubble, personal style blogs exploded onto the scene in the mid-2000s giving voice to young and stylish writers who had their own unique take on the seasonal fashion cycle and how to curate an individual style within the shifting swirl of trends. Personal Style Blogs examies the history and rise of style blogging and looks closely at the relationship between bloggers and their (often anonymous) readers as well as the response of the fashion industry to style bloggers' amateur and often-unauthorized fashion reportage.

You can find out more information on this title and pre order a copy here.

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SFS at Encounters: Short Film & Animation Festival 2017

We are excited to be at the Encounters: 23rd Short Film & Animation Festival, between 19-24 September 2017 at The Watershed, Bristol.


A seminar is being held for the launch of the new issue of Short Film Studies on Wednesday 20 September at 12.30pm, at the The Watershed, Waterside 3. The issue is devoted to two recent short film masterpieces that have won numerous awards: Zepo (Spain, 2014, 3 min) directed by Cesar Diaz Melendez and Listen (Denmark/Finland, 2013, 13 min), directed by Rungano Nyoni and Hamy Ramezan.


For more information about this event, please click here.



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Critical Studies in Men's Fashion 4.2 – out now!

We are delighted to announce that the new issue of Critical Studies in Men’s Fashion (4.2) is now available.

This special issue of CSMF focusses on ‘Fashion as Art’.

 

For more information about this issue, please click here or email katy@intellectbooks.com.

 

Articles within this issue include (partial list):

 

’Till They See a Man in Spite of His Clothes’: Twentieth Century Media and Raymond Duncan

Authors: Megan Martinelli Campbell

Page Start: 113

 

Raymond Duncan (1874–1966) entered the twentieth century clothed in a Greek inspired dress influenced by the past, yet strikingly modern for his time. Duncan, a leader at his own self-sufficient art colonies in Paris and Nice, spent 62 years of his life dressed in the daily uniform of hand-woven tunics and leather sandals that he and his followers created for themselves. Duncan first adopted his social and gender-defying philhellenic costume in 1903, and coverage of Duncan and his companions’ dress in newspapers and other media outlets continued throughout his lifetime. This article explores Duncan’s defiance of social conventions via his clothing, and the evolving attitudes of the twentieth-century mindset, from scandalised shock at Duncan’s trouser-less appearance during the 1910s to bemused curiosity from the 1920s onwards. As a male artist travelling through cultural centres such as Paris, London, Berlin and New York during the twentieth century, the attention afforded by the western press to Duncan’s ‘draperies’, long hair and sandalled feet contributed to the artist’s notoriety and success, and revealed a gradually evolving social interpretation of bohemian dress, which, by the time of Duncan’s death in the late 1960s, approached understanding and acceptance.

 

Identity and imaginary: Rhetorics of menswear in literature and film

Authors: Kenneth M. Kambara and John Deming

Page Start: 153

 

We critically examine the use of menswear in literature and film as an expression of Weltanschauung, a view of the world by creatives in the literary and visual arts. While depictions and presentations of menswear serve as rhetorical devices in literature and film, this occurs within a sociocultural meaning system, where the creator not only captures elements of social realities but also serves to influence them. Our enquiry informs how taste is defined through the distinctions made in social processes involving cultural capital through creative production. This involves context-rich analyses of how menswear is used to craft identities and tropes embedded within a historicized imaginary that may have never even existed. Such an examination of menswear as an art form in media allows for a nuanced critical analysis of gender performativity and issues of trajectories of meanings over time. Our theoretical framework builds on the fashion system and cultural reproduction work of Roland Barthes and Pierre Bourdieu, respectively. We use several key case studies of twentieth-century authors and film projects to develop new theory that has implications for understanding menswear as an art form with societal significance, with implications for better understanding gender, identity, culture and the everyday praxis of individuals and institutions.

 

Gender fluidity in Men’s fashion: From Shakespeare’s modern English to the new millennium

Authors: Patti Jordan

Page Start: 171

 

This study explores how art, performance and the fluid construction of gender identities have significantly influenced men’s fashion over the trajectories of both time and place. Comparisons are made to the similarities and differences between everyday dress, and dress for performance. Studies of particular epochs indicate noteworthy changes in men’s fashion, such as sixteenth-century dress and costume in Shakespearean England, the nineteenth-century Aesthetic Movement, twentieth century counterculture and the new millennium. Emphasis is placed on the transformative development of New English, and how this linguistic trend, as well as the increase in world travel, may have augmented changes in men’s dress. Western fascination with eastern influences and emerging concepts of exotic dress during the nineteenth-century Aesthetic Movement to the present are noted. Other pivotal moments, such as the development of twentieth-century fashion subcultures, mirror specific contemporary shifts in men’s attitudes towards the construction of gender identity and fashion influence. Cross-analysis is introduced through visual and verbal linkages as well as diverse art genres so as to further examine men’s styling at decisive points in fashion history.

 

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New issue of the Journal of Interdisciplinary Voice Studies 2.2

We are delighted to announce that the new issue of the Journal of Interdisciplinary Voice Studies (2.2) is now available.


This special issue of JIVS focuses on ‘Voicing Belonging: Traditional Singing in a Globalized World’.


For more information about this issue, please click here or email katy@intellectbooks.com


Articles within this issue include (partial list):


Constructing the singing voice: Vocal style, aesthetics and the body in Okinawan music

Authors: Matt Gillan

Page Start: 103


Japan’s southernmost prefecture of Okinawa has a thriving traditional music culture that has become popular throughout the country, and has also become the basis for a more modern Okinawan pop music scene. Most Okinawan musical genres strongly emphasize vocal technique – vocal timbre, inflection and ornamentation are all singled out as being cultural markers that differentiate Okinawan genres from each other and from the vocal music of the Japanese mainland. Vocal techniques have long been theorized and mediated through both written and verbal aesthetic discourses, and the voice continues to be a way that regional identities, lineage affiliations and other aspects of Okinawan society are negotiated. In this article I draw on fifteen years as a researcher and performer of Okinawan folk and classical vocal traditions, as well as recent recorded interviews with performers and music producers, to analyse how these discourses function, and how they have interacted with changes in performance practice since the early twentieth century.


South Indian singing, digital dissemination and belonging in London’s Tamil diaspora

Authors: Jasmine Hornabrook

Page Start: 119


This article explores the digital dissemination of Carnatic – South Indian classical – and Tamil devotional songs, singing and learning in London’s Tamil diaspora. Carnatic and Tamil devotional singing are key cultural practices in this highly dispersed, or ‘scattered’, diaspora, and are strong markers of collective Tamil cultural identity. The voice embodies the distinct South Indian style and is, therefore, highly iconic in South India, Sri Lanka and their diasporas. To demonstrate how the voice and singing are experienced in multiple locations, the article describes specific examples of how ‘traditional’ vocal practices are disseminated through the Internet. These examples are Skype lessons and online broadcasting of Tamil devotional singing. Through engaging in traditional singing practices in online environments, it is argued that vocal practices are central to a sense of belonging in multiple diasporic localities and to musical, spiritual and cultural diasporic imaginaries.

 

The transmission of voicing in traditional Gwoka: Between identity and memory

Authors: Marie Tahon and Pierre-Eugène Sitchet  

Page Start: 157


This article examines the transmission of voicing – the use of voice during the execution of a song – in Gwoka music. Considered at the time of French colonization as mizik a vié nèg (‘vagrants’ music’) this traditional music from Guadeloupe recently underwent a rehabilitation process that led to the idea that it reflected the ‘roots’ and the ‘authenticity’ of the Guadeloupean people. Gwoka music has since then become an important part of Guadeloupe’s cultural heritage, to the point that it is now listed on the UNESCO World Heritage List. The present work explores the relation between voicing in Gwoka and the questions of identity and memory. We suggest that traditional singers are chroniclers of their time, and memory smugglers who educate the audience by evoking values through their lyrics and voice. Gwoka music is strongly attached to political movements of resistance since its emergence. Previous generations of singers have not only transmitted vocal practice and lyrics, but also Creole language. Finally, we relate voicing to the preservation of Guadeloupean identity and to resistance in the face of Western domination.


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CfP: Drawing: Research, Theory, Practice 3.1

Call for Papers: Volume 3, Issue 1 'Drawing on Text'


This special guest-edited issue explores the relationship between writing and drawing. Topics for consideration concern writing, drawing, visual text, illustration, marginalia, illustrated letters, drawing with creative writing, writing with drawing, poetry as drawing, image based languages, and pictographs. We are inviting multi-cultural contributions with historical and/or contemporary emphasis, scholarly articles, critical essays, creative visual and textual research projects and profiles, and visual submissions of hybrid practices of drawing on text.

Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, as support to critical thinking, an interpretative medium and as a site of production.
 
DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.
 
We invite submissions for Vol 3, Issue 1 of the journal including:
Articles (5000 words, 1–6 images)
Research Projects (3000 words, 1–4 images)
Critical essays (3000 words, 1–4 images)
Profiles (1500 words, 1–2 images)
Featured Drawings (1–2 image and 1000 words)
Reviews (1500 words) on the latest books, media, museum and gallery exhibitions, conferences, performance, educational and research projects and events that relate to drawing.
 
Deadline: 15 October 2017
 
Submissions will be double-blind peer-reviewed and must be uploaded via the ‘Drawing: Research, Theory, Practice’ Intellect webpage:
 Please follow this link, scroll down to submit article’ and generate a user account.
 
 
Please submit a PDF Document with 1–6 embedded images (72 dpi), captioned, as Name_Surname.doc. On acceptance, a Word Document with separate images (300dpi) will be required via www.wetransfer.com.
 
All contributions should be original and not exceed 20 Mb.
All contributors should submit the Metadata (see Notes for Contributors)
Authors are responsible for copyright permissions (article [author] and images [artist or institutional copyright / photographer's permission]). Only copyright forms supplied by Intellect are accepted (hand-signed, scanned and returned as PDF files).
 
Please refer to the DRTP Notes for Contributors and to the Intellect House Guidelines for Style. Authors should ensure guidelines are adhered to; failing to do so leads to delays, and may result in the editor having to return or withdraw the submission.
 
All enquiries should be addressed to the principal editor.
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