In the last two decades, Young Adult (YA) literature has become increasingly popular; both the YA fan base and YA publishing imprints have continued to grow at a time when many other subsets of book publishing are shrinking. Debates about whether YA literature qualifies as “High Art” or is always relegated beyond an arbitrary boundary to be “Low Art” are ongoing. Regardless of those debates, YA literature and its adaptations dominate popular culture.
Aporetic Press is committed to publishing works that do not fall comfortably into accepted categories and established genres.
We are particularly interested in subjects which are not in vogue but nonetheless represent cutting edge thought, dynamic scholarship (including para-academic work) and unconventional creativity. We are willing to publish on the neglected and the niche providing the work is creative and original in approach.
CALL FOR PAPERS
Trans-Migration: Corporal, Spatial, and Symbolic Mobility
Submission deadline: Saturday, September 30, 2017
Publication: January 2018
18th Annual South Asian Literary Association (SALA) Conference
Jan. 8-9, 2018
Omni Berkshire, Manhattan
New York City, NY
(Executive Committee meeting will be held on Jan. 7, 2018)
Hotel Room Rates:
$119 for a Deluxe King Room
$149 for a Deluxe Double/Double Room
(These rates are also available to us for the three days before our conference and the three days after our conference.)
Precarity, Resistance, and Care Communities in South Asia
Urban Gothic is a subgenre of Gothic fiction, Gothic crime fiction, and television whose narratives spring from discourse on industrial and post-industrial urban society. Often dystopic, it was pioneered in the mid-19th century in Britain and the United States and developed in serialisations such as R. L. Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886); into novels such as Oscar Wilde’s The Picture of Dorian Gray (1890). Much has been written on 19th century Anglo-centred Urban Gothic fiction and vampiristic, monstrous Urban Gothic, but less has been written on the 21st century reimagining and re-serialisation of the Urban Gothic in mechanised, altered, disabled, and dystopic states of being.
A Place To Call Our Own: Contesting and Constructing the Home in Independent Film and
An area of multiple panels for the 2017 Film & History Conference:
Representing “Home”: The Real and Imagined Spaces of Belonging
November 1-November 5, 2017
The Hilton Milwaukee City Center
Milwaukee, WI (USA)
EXTENDED DEADLINE for abstracts: August 1, 2017
With Pittsburgh, Pennsylvania as a backdrop, The Mysteries of Pittsburgh and Wonder Boys show Michael Chabon finding his footing as a rising American novelist. One of the most notable devices employed in these and his later works is the way that the locations ground his characters and his plot as well as reveal his stylistic flourishes as a storyteller, even before The Amazing Adventures of Kavalier and Clay earned him a Pulitzer Prize.
Why and how are place such an evocative facet of many American writers’ work, and how does the repeated commitment to establishing place in American writing position it in a more global sense as a fiction writer?
Encyclopedia of Sexism in American Cinema
This volume takes up the topic of sexism within American Cinema from its early days of film production to the present. Covering over 400 entries that include films, producers, directors, actresses, actors, genres, as well as conceptual and critical interpretations, the breadth and depth of this volume will generate some highly significant material for both academics and general audiences alike. The first of its kind—indeed there are no other encyclopedias that cover this topic anywhere on the market—The Encyclopedia of Sexism in American Cinema is a timely companion to the ever-growing field of critical film studies.
Shyam Benegal is widely perceived as one of the most influential filmmakers from India. Yet his four-decade long career remains relatively under-studied in contemporary film scholarship. Thus far, only two authoritative book-length studies of him – namely Sangeeta Dutta’s Shyam Benegal (BFI, 2002) and Anuradha Dingwaney Needham’s New Indian Cinema in Post-Independence India: The Cultural Work of Shyam Benegal’s Films (Routledge, 2013) – have appeared. To help fill this critical lacuna, our edited volume aims to undertake a close look at the prolific oeuvre of Benegal, a trailblazing auteur who has successfully redefined the contours of non-commercial Hindi-language cinema.