De-Centring Cultural Studies (2013), Ed. by Patricia Bastida Rodríguez et al.
Chuck Palahniuk: Fight Club, Invisible Monsters, Choke (2013). Ed. by Francisco Collado.
T. S. Eliot & Salvador Espriu (2013), Didac Llorens Cubedo.
Ana Manzanas & Jesús Benito, Cities, Borders and Spaces in Intercultural American Literature and Film
Call For Papers for XII SAAS Conference
"The Image and the Word"
7) "Drawing the Line: Illustrating US Classics of the Nineteenth Century"
Panel Chair: María Ángeles Toda Iglesia, Universidad de Sevilla
Perhaps because, as Leslie Fiedler observed, nineteenth century US classics have a tendency to be adapted as juvenile literature, and some of them in fact were conceived as such, many illustrated versions of such works exist and continue to be published both for children and adults. From Abigail May Alcott's drawings for Little Women through José Ramón Sánchez's adaptation of Moby Dick as a graphic novel in 2017, to the "Clásicos Ilustrados" collection by Bruguera so familiar to Spanish readers over fifty, in which novels such as The Last of the Mohicans were doubly retold both in abridged prose and comic-strip format, these images provide a fertile ground for reflection on their interaction with the works they illustrate. This panel invites consideration on the multiple forms of this interaction. Some questions to tackle might include: In what specific ways does a particular kind of illustration, and/or a particular visual "packaging," affect the reading of a text? What relation, if any, exists between authors and illustrators? What can illustrations show about a book's publishing history and about the literary marketplace? How are the choices and practices of non-US artists over the world different from US artists when it comes to illustrating these works? What is the relevance of the scenes that are chosen for graphic depiction in terms of emphasizing themes or interpretations of the novels? What role do illustrations play in censorship or adaptation to juvenile audiences? How do they influence other forms of art, such as painting, film or theatrical versions? How do all these issues change through time and space?
GUIDELINES FOR PARTICIPANTS
Please submit all paper proposals directly to the Panel Chair using this form no later than October 15, 2018.
Panel Chairs will notify applicants of their acceptance/rejection no later than November 15, 2016.
For information on the Conference Venue see the Organizing Committee's website.
SAAS members, ASA members, and other scholars (not necessarily affiliated with any of these associations), are invited to submit proposals to the panel of their choice. Donwload this form, fill it out, and send it via email to the chair of your selected panel.
In order to present a paper, participants who are not SAAS, ASA, APEAA or HELAAS members will be required to pay a one year's membership fee (and enjoy the benefits for the following year) plus the conference fee.
Students have to become SAAS members (if they are not SAAS/ASA/APEEA/HELAAS members already) and pay 50 percent of the registration fee (60€ early bird/75€ late registration) if they wish to present a paper and/or attend the "Félix Martín" Doctoral Seminar.
Deadline: October 15, 2018
Further guideliness for participants can be found here.