Friday, November 01, 2013

Radway Revisited - at PCA/ACA 2014


Reading the Romance:Women, Patriarchy and Popular Literature 
1984 - 1991 - 2014

Janice Radway will be joining the Romance area of the Popular Culture Association/American Culture Association for a 30th Anniversary roundtable discussion of Reading the Romance: the book, its impact, and its legacy. Details of the programme haven't yet been finalised but the conference will be held in Chicago from 16-19 April 2014.

More details about the Romance area can be found here - and there are still a few hours left before the deadline for submissions if you'd like to present a paper.

Wednesday, October 30, 2013

Princeton Symposium Summarised


Jackie C. Horne has summarised the keynote speeches (by Kay Mussell and Jennifer Crusie) and round-table discussion (the participant whose contribution is most noted is Eloisa James) at the The Popular Romance Author Symposium.

Tuesday, October 22, 2013

Focus on Authors


Chelsea Ann Pierce's recent MA thesis is on the topic of "The Apprenticeship of Laurell K. Hamilton: How Aspiring Writers Learn to Write."

The Princeton Symposium on Authorship in the Popular Romance Genre , whose participants also focus on authors, will be starting in a few days' time. On Friday attendees will be able to hear:

Deborah Chappel Traylor on “The Novels of Edna Ferber, An Important Link in Popular American Women's Fiction”
It may be easy enough to see connections between popular romance written today and the novels of Jane Austen, but how do we explain how one leads through centuries and across oceans to the other?   How do we present a history of women’s romance without exploring and establishing links to other writers, traditions, and events?
Maryan Wherry on “Adventure, Mystery, Romance: The Voice and Style of Mary Stewart”
Mary Stewart is an important transition figure within 20th century romance. [...] Stewart combines the neo-gothic traditions of Daphne du Maurier and Victoria Holt with the traditional mysteries of Georgette Heyer and Mary Robert Rinehart to establish the foundations of the romantic suspense subgenre.
Hsu-Ming Teo on “'Everyone loves a Lindsey!': Evaluating the Historical Romance Oeuvre of Johanna Lindsey”
Together with her well-known contemporaries Kathleen Woodiwiss, Rosemary Rogers and Bertrice Small, Lindsey’s work was an integral part of the ‘Romance Revolution’ which injected sizzling sex scenes into the pages of the romance novel. It was a revolution that contributed to the Americanization of the twentieth-century romance novel.
Jackie Horne, “Feminism and the Romance Author”
This talk will take a closer look at romance writers’ relationship to feminism during the past twenty years, not by analyzing their novels, but by looking at their interviews and critical writings on the craft of romance.
Jonathan Allan, “Twisting the Romance Novelist”
for a study of male/male romance to develop at all, we need to build the theory from the ground up, beginning with the author. By “twisting” authorship, I hope to offer a critical model of authorship, that recognizes the particularities of male/male romance, particularly since the subgenre is largely written “by women for women.”
Jennifer Lois and Joanna Gregson, “Sneers and Leers: Romance Novel Writers and the Stigma of Sexual Shamelessness”
Writers reacted to the sneers and leers in two opposing ways. Some accepted the invitation and displayed personalized aspects of their sexuality for shock value, career promotion, or to reclaim control of defining their sexual selves in a patriarchal culture. Others contested the assumption that their personal sex lives were relevant to their work and chastised outsiders for intruding on their privacy.
Annette Couch-Jareb, “Self-Publishing and the Individual Author as an Agent of Change”
In recent years, publishing has undergone a revolution, as dramatic as the invention of the Guttenberg Press. For the first time, authors are able to publish without the gatekeeping effects of publishers.
Jayashree Kamble, “Defiance and Definition: Constructing Authorship in Lisa Kleypas’s Dreaming of You”
Kleypas’s Sara Fielding (whose name evokes a history of women authors) is a claim of authorial self-determination in a genre that is constantly battling for the right to define what it is (and is not).
Eric Selinger, “The World Split Open, Slightly; Or, I Fought the Law and the Law Spanked”
This consoling narrative [Victoria Dahl's Talk Me Down], in which the truths told by romance can be easily and pleasurably recuperated, contrasts in several ways with the representations of gender, truth-telling, and the law in Dahl’s Twitter and Tumblr posts, which include impassioned, explicitly political reflections on gendered poverty, abortion rights, and access to birth control.
Jessica Matthews, “When Authors Won’t “Die”: Diana Gabaldon as Imperial Author in the Books and Writers Community Online Forum”
Gabaldon uses her position as the author to offer the “correct” interpretation to readers’ questions, all while creating an online persona that is friendly to those who agree with her, but caustic to those who do not. Her answers often require her to provide information that would not have been available to the reader, thus allowing her to extend her narratives beyond the novels themselves. In other words, her online forum allows her to keep writing her novels and position herself as the leading authority on them.
Regina Künne, “L’Auteur Est Mort. Vive L’Auteur!”
The talk will address Jayne Ann Krentz’s works and will give answers about changes within twenty-five years of her writing career 
The full abstracts for all of these talks can be found here.

Friday, October 18, 2013

Susan Elizabeth Phillips Comes to PCA!


Some very exciting news:  bestselling author Susan Elizabeth Phillips will be coming to the Romance Area at this year's PCA national conference in my home town, Chicago.  She'll be chatting with Pamela Regis and me about her work and about the genre, so if there's anything you've always wanted a romance scholar to ask her, let me know!

The deadline for proposals is early this year, November 1, so don't wait--get those submissions in soon.

The conference is in Chicago, April 16-19, 2014; for full conference info, go here.

We've broadened out the Call for Papers somewhat--not really a change in substance, but an emphasis on inclusiveness, in terms of the media we cover.  In case you missed it earlier, here's the gist:

The discourse of romantic love permeates popular culture.  The Romance area includes papers on love, romance, and relationships, in real life and as represented in any medium, now and in the past.  From ad campaigns to Supreme Court decisions, Dan Savage to Sweet Savage Love, K-Pop to qawwali,:  if it’s about love, it’s a welcome topic at the PCA Romance area.

We will consider proposals for individual papers, sessions organized around a theme, and special panels. Sessions are scheduled in 90-minute slots, typically with four 15-minute papers or speakers per standard session, with the remaining time available for discussion.

If you are involved in the creative industry of popular romance and are interested in speaking on your own work or on developments in popular romance culture, please contact us!

Some possible topics include:
  • Romantic love in political discourse (revolutionary, reactionary, colonial / anti-colonial, marriage equality, etc.)
  • Love, Globally:  local traditions, transnational media, adaptation and translation issues
  • Fifty Shades of WTF:  the reception of popular romance media
  • Romance High and Low (i.e., texts that remix or blur distinctions between “high” and “low” culture, like the Lizzie Bennet Diaries)
  • Love Theory / Romance Practice:  theoretical approaches to love and romance, and popular romance as a place where love is theorized
  • Romancing the Marketplace: romantic love in advertising, marketing, and consumer culture
  • Queering the Romance: Lesbian, Gay, Bisexual, Transgender, and Kink romance
  • Romance communities, IRL and on-line
  • Young Adult, Paranormal, and other emerging genres of romance fiction
  • Individual Creative Producers or Texts of Popular Romance (novels, authors, film, directors, writers, songwriters, actors, composers, dancers, etc.)

As we do every year, the Romance area will meet in a special Open Forum to discuss upcoming conferences, work in progress, and the future of the field of Popular Romance Studies.  All are welcome to attend.

Submit a one-page (200-300 words) proposal or abstract by November 1, 2013, to the PCA/ACA conference database.

Please feel free to repost this, send it to colleagues and students, Tweet it, link to it, toss it in your Tumblr feed, whatever you like, to get the word out--and I hope we'll see you there!

Wednesday, October 16, 2013

Chinese Web Romance

Jin Feng's Romancing the Internet: Producing and Consuming Chinese Web Romance has been published by Brill and in it 
Jin Feng examines the evolution of Chinese popular romance on the Internet. She first provides a brief genealogy of Chinese Web literature and Chinese popular romance, and then investigates how large socio-cultural forces have shaped new writing and reading practices and created new subgenres of popular romance in contemporary China. Integrating ethnographic methods into literary and discursive analyses, Feng offers a gendered, audience-oriented study of Chinese popular culture in the age of the Internet.
More details can be found on Brill's website and an excerpt is available here.

Friday, October 04, 2013

CFPs: Canada/US, Country Houses, Sexuality/Disability, Sexuality/Fantasy, African-American Print Culture, Supernatural


Since this is a long post, I thought I'd start with a short list of the CFPs in order of their submission deadlines:
  • Production, Consumption, and Reception across the Canada-US Border
  • The Country House in Britain, 1914-2014
  • 1st Global Conference: Sexuality and Disability
  • Gender and Sexuality in Contemporary Popular Fantasy
  • African American Print Cultures
  • Supernatural Creatures: from Elf-Shot to Shrek

Cultural Crossings: Production, Consumption, and Reception across the Canada-US Border
Second international Culture and the Canada-US Border conference
University of Nottingham, 20-22 June 2014

I don't think they had Harlequin in mind when they put out their call for papers, but it does fit the topic:
We encourage analysis of cultural texts, phenomena, and industries both in terms of how they might operate differently in Canada and the United States and the ways in which they might straddle, or ignore, the border altogether. We invite proposals on both contemporary and historical cultural texts and contexts.

Although submissions on any relevant area of interest are welcome, we particularly welcome papers focusing on the following in a cross-border and/or comparative context:
  • book histories and publication contexts
  • reading cultures and communities [...]
Deadline for submissions 1 Nov. 2013. More details here.


The Country House in Britain, 1914-2014
Newcastle University, Friday 6th - Sunday 8th June 2014
This three-day interdisciplinary conference will trace the representation of the country house in British literature and film between 1914 and 2014. The conference will explore how space, class and gender operate in the wealth of filmic and literary texts which have been concerned with the country house throughout the last century, as well as considering how it functions in documentaries, historical monographs and reality television. We invite 300-word abstracts (for 20-minute papers) on any topic relating to the country house.
 There's specific mention of "Romance Fiction." Abstracts should be submitted via email to countryhouseconf@ncl.ac.uk by 1 November 2013. More details here.



1st Global Conference: Sexuality and Disability
Tuesday 6th May – Thursday 8th May 2014
Lisbon, Portugal 
This conference seeks to challenge popular conceptions and perceptions of sexuality and disability. In addition to academic papers, we are particularly interested in opening up a space for the discussion of personal experiences of disability and sexuality and the role of sex workers, community programs and the work of sex educators. Inter-disciplinary and cross-disciplinary perspectives are sought on sexuality and disability, including cross-cultural and transcultural perspectives. Non-traditional presentations are encouraged including workshops, performances and round table discussions.

300 word abstracts should be submitted by Friday 6th December 2013. More information here.


CFP for Edited Collection: Gender and Sexuality in Contemporary Popular Fantasy 
Proposals are invited for essays which explore non-normative representations of gender and sexuality in a range of contemporary popular fantasy, including, but not limited to: tv episodes and series, films, computer games and MMORPGs, novels and short stories, comics and graphic novels, role-playing games and fanfiction. [...]

This collection will consider the ways in which contemporary writers, artists, directors and producers use the opportunities offered by popular fantasy to exceed or challenge gender and sexuality norms. In contrast to many claims made about the fantasy genre being necessarily conservative/reactionary, this collection will explore the ways in which this genre can be and is being used to reflect on the contingency of our gender and sexuality norms. With this in mind, proposals are invited for essays of c.7000 words.

Please send proposals of 500 words plus a short biography to j.roberts@bbk.ac.uk by 15th December. More details here.

It may also be of interest that Jude Roberts is looking for papers on much the same topic for "a panel on the academic track at Loncon3 – the 72nd World Science Fiction Convention" which will be held in London from Thursday 14 to Monday 18 August 2014. Please send a 300 word abstract and brief biography to j.roberts@bbk.ac.uk by 1st December 2013. More details here.


MELUS CFP for 2015 Special Issue: African American Print Cultures
In 2015, a special issue of MELUS will showcase under-studied aspects of black print culture studies or book history. We are seeking scholarship that addresses, but is not limited to, the following questions:

• How are contemporary print matters—ranging from concerns such as the publication of new print editions of literary texts by emergent and historical US black writers to online and open access publishing as well as to the operations of the mainstream publishing industry—shaping our understanding of what African American literature is becoming?
All essays should be between 6,000 and 9,000 words, including notes and works cited. [...] Please submit completed essays to Howard Rambsy II (hrambsy@siue.edu) by Dec. 15, 2013. More details here.


Supernatural Creatures: from Elf-Shot to Shrek
September 22-24, 2014
University of Lodz, Poland
The second Lodz Fantastic Literature Conference aims to bring together experts in folklore, medieval and early modern literature and culture as well as contemporary fantasy literature to explore the fascinating relationship between supernatural creatures and humankind. For centuries these creatures have been seen in both positive and negative light – sometimes as benevolent neighbours, many a time as dangerous folk to interfere with, at other times still as tricksters positioned outside of the traditional dichotomy of friend or foe. Their cultural presence is a force to be reckoned within the study of pre-modern, modern as well as post-modern literature, and the current fascination of popular culture with their history and nature begs ever new questions about why they continue to seem so indispensible to us.

We would like to invite contributions that address the nature and function of the beliefs of past eras, their postmodern transformations, and especially those which trace the (dis)continuities in the ways in which these creatures have been imagined and perceived over the ages.
Submissions of topics and abstracts (300-400 words) should reach the organisers no later than January 31st, 2014. More details here.

Wednesday, September 25, 2013

And this seems somewhat familiar too



In 2013 it sometimes seems as though when it comes to historical romances, only a duke will do. In contemporaries it helps if a hero's got fifty shades of greenbacks.

This is, apparently, nothing new. Here's William Dean Howells lamenting the taste of the American reading public in 1891 because they have a preference for:
something select, something that treats of high life, like those English novels which have chiefly nourished us; or something that will teach us how to escape the life of toil by a great stroke of business, or by a splendid marriage. What we like to read about is the life of noblemen or millionaires; that is our romance; and if our writers were to begin telling us on any extended scale of how mill hands or miners, or farmers, or iron puddlers really live, we should very soon let them know that we did not care to meet such vulgar and commonplace people.
As far as I can tell, this was first published in Harper's New Monthly Magazine 83, on page 965 but unfortunately I couldn't access it. This excerpt comes from Rob Davidson's The Master and the Dean: The Literary Criticism of Henry James and William Dean Howells.


The image of the ducal coronet was created by Sodacan and came from Wikimedia Commons. The "Large-sized Series of 1880 United States Notes; the $20 note displays Alexander Hamilton and a red scalloped seal, and the $10 Daniel Webster and a large red spiked seal" came from Wikipedia.

Tuesday, September 24, 2013

Sound familiar?


From Steven Brocklehurst's article on Jack Vettriano's art:
Jack Vettriano is one of the most popular and successful artists in the world and yet his work has been dismissed by critics as "badly conceived soft porn". [...]

He says: "I am not somebody that buys into the notion that popularity means it is rubbish.

"If something is popular you had better believe it has something going for it."

So why does Vettriano think his paintings are not as well received by the critics, who have dismissed some of his erotically-charged material as "pornography"? [...]

He says: "What I've suffered from and what I continue to suffer from is that critics don't take sex seriously.

"They think it's not real art. I will disagree to the day I die that it is serious."
I didn't want to include any pictures as they're copyright, but you can see quite a lot of images of his work at the website of "Heartbreak Publishing, Jack Vettriano's Official Publishing Company."

Wednesday, September 18, 2013

Attendees Sought: Princeton Symposium on Romance Authors


The Princeton Symposium on "Authorship in the Popular Romance Genre" is being held on October 24th and 25th.

On Thursday 24th October from 5-7.30pm there will be keynote speeches from Jennifer Crusie and Kay Mussell and a roundtable discussion involving the two speakers plus Eloisa James/Mary Bly, An Goris, April Alliston and Pamela Regis. Registration starts at 4.30.

The Thursday keynotes and roundtable are free and open to the public. You can register here. This is a rare opportunity to hear Jenny Crusie because, as she says, "Travel is now dicey for me."

On Friday 25th October scholarly panels are scheduled from 9.30am-5.30pm. A fee will be charged for these panels but that also covers the cost of lunch:

• Early bird registration for the Friday panels = $20 (deadline October 1, 2013)
• After October 1, the registration fee for the Friday panels is $30

Register here. More details about the academic panels should be available in late September on the symposium website.

CFP: Chick Lit; Strong Female Characters Created by Men


Via Jen Lois and the Romance Scholar Listserv, here's the text of an email from Adrienne Trier-Bieniek:

I am under contract to deliver "Fan Girls and Media: Consuming Culture" to Scarecrow Press in the late summer of 2014.  I am in need of contributors for two chapters which are outlined below along with a brief description of the book. If you are interested, please send me a brief abstract (200-300 words) and CV by Oct. 1st.  Submissions can be sent to adrienne.mtb@gmail.com.  Those with PhD's or who are in the process of defending a completed dissertation will be given primary consideration.
Thank you!
Adrienne
********************
Description of chapters in need of authors: Please note these are just ideas for the chapters.  They can be developed in any way which best fits the author's focus.

Chapter 3:       Gender, Novels and “Chick Lit”

While the specifics of the chapter will be left to the contributor solicited to write it, this chapter will focus on the ways women who read are often regulated to “fans of chick lit.”  While many women writers present female characters who represent the lives and experiences of many women, (Jennifer Weiner specifically comes to mind), literature is often devalued when it is being consumed by groups of women.  Looking at media coverage of women who read a series like Twilight or 50 Shades of Gray, (generally characterized as read by “women of a certain age” who lust after the fantasy of a younger man), there is a clear gender stereotype of women who read.

Chapter 6:       Strong Female Characters Created by Men

This chapter will focus on the ways female characters are received by female audiences when the creator and mastermind behind a character is male.  This chapter is inspired by the characters created by men such as Joss Whedon (the creator of Buffy the Vampire Slayer, director of the new Avengers movies).  Because media is dominated by male directors, agents, writers, producers etc, there is a need to understand why strong women created by men resonate with (particularly) female audiences.

Overview of the Book

            This edited volume examines the ways gender stereotypes inform the creation and consumption of popular entertainment and media.  The common assumption that “Women don’t go to movies”, “Women are not funny” or “Women don’t like science fiction” continues to be a driving force in the creation of popular entertainment and has contributed to a culture where, particularly, complex female characters are rare.  These assumptions also affect female fans of media because the focus on female consumers centers on traditional femininity. As a result too few scholars have yet to focus on the impact of gender in media consumption, leading to a limited portrait of what male and female fans are looking for.  This deficiency leads to an enforcement of gender stereotypes.  For example, American popular culture commonly characterizes women as fanatical followers of novels such as Fifty Shades of Grey and films like Twilight, both commercially driven franchises whose popularity (and revenue) derives from assumptions about women’s desires to be rescued by men.  In contrast, with female-driven media where women are presented as empowered, labels such as “chick lit” are applied, diminishing any legitimacy for the medium.  Additionally, the culture of mass-market entertainment treats audience members to a never-ending parade of male action stars or men in leading (often dominating) character roles. Women, on the other hand, still largely function as passive characters in film and fiction novels, with reality television compounding the subordination of women by framing them as constant “frenemies.”  Behind all of this is the assumption that women will watch whatever men enjoy and men only enjoy uber-masculinity in their media.

            This book examines diverse ways media consumption is being challenged and the impact this confrontation can have on addressing gender stereotypes.  Each contributor will offer a chapter on a topic related to media and society with a focus on gender and audience consumption.  In each essay, contributors contest the argument of media moguls and academics alike that male viewers dominate media far too much for it to appeal to girls and women (i.e. the fantasy genre, stand-up comedy or comedic films, ComicCon and comic books); explore the ways cultural patriarchy dismisses women’s pleasures in certain genres (e.g., chick lit); or diminish women’s experiences (e.g., women on reality television.)  There are also chapters dedicated to understanding men who write female characters, and the response this garners from fans, as well as how women who are seemingly the “anti-heroine” are reflective of the multi-layered experiences of women.  The chapters will be written by contributors and will be original for this text.

Sunday, September 15, 2013

New Publications: Love and Marriage

 
Claire Langhamer's The English in Love: The Intimate Story of An Emotional Revolution was published at the end of August and
covers the period from the end of the First World War until the break-up of The Beatles.

To the casual observer, this era was a golden age of marriage. More people married than ever before. They did so at increasingly younger ages. And there was a revolution in our idea of what marriage meant. Pragmatic notions of marriage as institution were superseded by the more romantic ideal of a relationship based upon individual emotional commitment, love, sex, and personal fulfilment.

And yet, this new idea of marriage, based on a belief in the transformative power of love and emotion, carried within it the seeds of its own destruction. Romantic love, particularly when tied to sexual satisfaction, ultimately proved an unreliable foundation upon which to build marriages: fatally, it had the potential to evaporate over time and under pressure.
It doesn't have much to say about popular romance fiction, but as a result of reading it I did have a few thoughts about historical romance, and also about the extent to which the genre as a whole has reflected beliefs about love and marriage.


I haven't yet read Karen M. Dunak's As Long as We Both Shall Love: The White Wedding in Postwar America, which was also published this August, and even though it doesn't seem to have much to say about romance novels either, it too made me think about popular romance (evidently I've got a one-track mind when it comes to research).

Dunak argues that "Despite being condemned by some critics as “cookie-cutter” or conformist, the wedding has in fact progressively allowed for social, cultural, and political challenges to understandings of sex, gender, marriage, and citizenship" and I think one could make much the same argument about popular romance fiction. Similarly, I think you could substitute "romance novel" for "wedding" in the following: "While many elements of the wedding, from the symbolic meanings behind its 'traditional' components to the way it is marketed, deserve questioning and critique, too many evaluations have ignored the possibilities the wedding offered its celebrants" (5).

An excerpt is available via Google Books and an excerpt from Chapter 5, on same-sex weddings, was published at Salon. Here's an excerpt of that excerpt:
While it is impossible to know the actual number of committed gay and lesbian couples during the 1950s and 1960s, queer marriages existed in the immediate postwar decades and in the years before the official start to Gay Liberation. [...]

Mary Mendola, a writer “married” to another woman, conducted an investigation in the late 1970s to determine just how many same-sex couples existed. The resulting publication, The Mendola Report, while hardly scientific, proved that gay men and lesbians resided together as married couples throughout the United States. Using only an informal network of gay and lesbian contacts, Mendola found 1,500 potential couples to survey and received an astonishing 27 percent return on her distribution. Of her return sample, 67 percent of respondents described themselves as permanently committed or “married.”
-----
Dunak, Karen M. As Long as We Both Shall Love: The White Wedding in Postwar America. New York: New York UP, 2013.

Langhamer, Claire. The English in Love: The Intimate Story of An Emotional Revolution. Oxford: Oxford UP, 2013.

Thursday, September 05, 2013

Call for Proposals: The Cultural Politics of Media and Popular Culture Series


Call for Proposals: The Cultural Politics of Media and Popular Culture Series
Editor: C. Richard King, Washington State University

Dedicated to a renewed engagement with culture, this series fosters critical, contextual analyses and cross-disciplinary examinations of popular culture as a site of cultural politics. It welcomes theoretically grounded and critically engaged accounts of the politics of contemporary popular culture and the popular dimensions of cultural politics. Without being aligned to a specific theoretical or methodological approach, The Cultural Politics of Media and Popular Culture publishes monographs and edited collections that promote dialogues on central subjects, such representation, identity, power, consumption, citizenship, desire and difference.

Offering approachable and insightful analyses that complicate race, class, gender, sexuality, (dis)ability and nation across various sites of production and consumption, including film, television, music, advertising, sport, fashion, food, youth, subcultures and new media, The Cultural Politics of Media and Popular Culture welcomes work that explores the importance of text, context and subtext as these relate to the ways in which popular culture works alongside hegemony.

Please direct inquires and proposals to: C. Richard King (crking at wsu dot edu), Professor Critical Culture, Gender & Race Studies, Washington State University.

The series will be published by Ashgate.