This special 10th anniversary issue of Transformative Works and Cultures seeks to explore the future of fandom while looking back to its past. How might scholarship on fandom's past and present invite speculation about its future? And what might the possible futures invoked by technological, ecological, and political discourses mean for fandom's communities and practices? Science fiction in particular--the field whose strategies spawned fandom, and the genre in which much fan activity occurs--has used imagined futures to shed new light on the present and the past. In turn, studying where we are and where we have been allows us to imagine where we may be heading.

This session proposes to look at what has been a persistent but under-represented section of comics studies: manga (Japanese comics), and associated with it, anime (Japanese animation). Access to anime and manga is pervasive: one distributor, CrunchyRoll, has one million yearly paying subscribers, providing electronic access to 50 manga titles translated into English, and 800 anime titles. In partnership with United States distributors such as Viz and Funimation, the vast majority of those anime titles are dubbed into English, making language much less of a barrier of access for teachers–as well as students.

The task of translating a literary text often poses the challenge of choosing between content and form. This is, of course, conspicuous in the translation of poetry where meaning and form are indissoluble and constitute an organic whole. Prose translation can be equally exigent. Its narratological ingenuity and nuances in style demand not only verbal dexterity but also the ability to capture the magic concealed in the author’s imagery. In order to produce a version that is pertinent and meaningful to the modern reader, the translator of both poetry and prose takes certain liberties with regard to the source text but inevitably faces the challenge of fidelity to its original language and content.

SHORT FORM CFP:

This panel examines the relationship between the contemporary poetry community’s call for “poetry of resistance” and the particular locations or spaces that such poems represent. Papers may examine how particular locations or spaces define the language of resistance or how poetic resistance defines particular locations or spaces. How is resistance defined locally, globally, geographically, environmentally, or personally in poetry? And how does poetry define the relationship between resistance and location?

Send 250-300 word abstracts to Kirsten Ortega at kortega@uccs.edu by September 30, 2017.

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