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[ecrea] LitPop: Writing and Popular Music
Mon Jan 10 09:34:41 GMT 2011
** On behalf of Rachel Carroll, (R.Carroll /at/ tees.ac.uk) **
Abstracts are invited for the conference below;
proposals should be submitted by 1st February
2011 to: (az.litpop2011 /at/ northumbria.ac.uk)
LitPop: Writing and Popular Music
Friday 24th June 2011, Northumbria University, Newcastle upon Tyne
Going beyond well-rehearsed comparisons between
Dylan and Keats, this conference aims to bring
fresh perspectives to debates about the forms
and functions of popular music in relation to
literature, exploring connections and conflicts
between writing (fiction and non-fiction, past
and present), and popular music (modern,
contemporary or otherwise). Where cultural
value was once sought for popular music through
analogy with literature, or popular music and
literary texts were seen as incompatible,
writers and critics now borrow the demotic idioms of pop. Why?
Keynote speakers include:
? Paul Farley (Professor of Poetry, Lancaster
University, award-winning author of The Ice Age
and Tramp in Flames, and The Electric Polyolbion)
? Gerry Smyth (Reader in Cultural History,
Liverpool John Moores University, author of
Music in Contemporary British Fiction: Listening to the Novel)
? Sheila Whiteley (Professor Emeritus,
University of Salford, editor of Sexing the Groove: Popular Music and Gender)
The organisers invite scholars and students
working in literary and cultural studies, music,
film, creative writing, history, philosophy, and
related disciplines to submit 200-word abstracts
for 20 minute papers relating to any of the
following themes and questions by 1 February
2011. Contributors are free to interpret and
address these as broadly as they deem appropriate:
Making LitPop
? How has writing past and present been
influenced by popular music, and vice
versa? How have ?literary? texts appropriated
the sounds and idioms of popular music? How
have popular musicians invoked ?literary? texts,
imagery and motifs in their work?
? How does writing construct or represent
popular music cultures (fans, collectors,
consumers, subcultures), industries (performers,
moguls, producers), or histories and mythologies
(through nostalgia, pastiche and memory)?
? What happens when a popular musician becomes a
novelist or poet (or vice versa)?
Thinking LitPop
? What critical frameworks are appropriate for
the analysis of popular music and fiction or non-fiction?
? Can we categorise writing in terms of the
genres of popular music? Is there such a thing
as a ?jazz?, ?hip-hop?, or ?punk? novel or poem?
? How do different genres of writing represent
popular music differently? What is the function
of the ?literary soundtrack? (charts and
?mixtapes? in novels, for example)? Are music
criticism, journalism and biography
?literary?? Can we speak of a ?narratology? of
music biography, music journalism, blogging,
fanzines or fan fiction? Should we listen to popular songs as ?texts??
? How do class-based, sexualised, gendered and
racialized identities inform ?litpop??
Consuming LitPop
? In what ways have adaptations of literary
texts in film or elsewhere employed popular
music? How have representations of popular
music (in music videos, for example) referenced
literary forms? And how do songs, compilations
or soundtracks brand writers and their work?
? Does relating popular music and literature
confirm or disturb ideas of cultural hierarchy and status?
? To what extent are the politics and poetics of
?literature? and popular music complementary or conflicted?
? Given technological innovations, do writing
and popular music share equally compromised or
empowering modes of production and reception?
The conference organisers Rachel Carroll
(Teesside University), Adam Hansen (Northumbria
University), and Mel Waters (Northumbria
University) will be submitting an edited
collection of selected papers for publication to
the Ashgate Popular and Folk Music Series.
Please submit 200-word abstracts for 20 minute
papers plus a 50-word author profile to:
(az.litpop2011 /at/ northumbria.ac.uk) by 1 February 2011.
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Nico Carpentier (Phd)
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Vrije Universiteit Brussel - Free University of Brussels
Centre for Studies on Media and Culture (CeMeSO)
Pleinlaan 2 - B-1050 Brussels - Belgium
T: ++ 32 (0)2-629.18.56
F: ++ 32 (0)2-629.36.84
Office: 5B.401a
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European Communication Research and Education Association
Web: http://www.ecrea.eu
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E-mail: (Nico.Carpentier /at/ vub.ac.be)
Web: http://homepages.vub.ac.be/~ncarpent/
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