Archives par mot-clé : culture populaire / popular culture

Call for papers – The Marginalised Mainstream: Literature, Culture & Popularity

The Marginalised Mainstream: Literature, Culture & Popularity

08 November 2012 – 09 November 2012

Event Type: Conference / Symposium
Venue: Institute of English Studies
Venue Details: Senate House, Malet Street, London, WC1E 7HU

Description

Keynote Speakers include: Professor Phillip Tew (Brunel University), Professor James Chapman (University of Leicester), Christoph Lindner (University of Amsterdam)

The Marginalised Mainstream seeks to discuss the growing interest in and importance of mainstream culture and the popular as ways of engaging with cultural products of the late nineteenth to early twenty-first centuries, the long twentieth century, 1880–2010. Specifically, we seek to bring together postgraduate students, early career academics and established researchers working in the fields of Literature, Cultural Studies and elsewhere in the Humanities, to explore why mainstream culture and objects of mass appeal are so frequently marginalised by the academic community.

CLICK HERE FOR CALL FOR PAPERS.

Abstracts of no more than 350 words are invited by 1 June 2012 . They must include:

  • 350-word abstract, including title,
  • your name,
  • affiliation,
  • contact information,
  • a brief biographical paragraph about your academic interests,
  • any technical support that might be needed

Please email submissions, in Word, WordPerfect, or RTF formats, to organisers Brittain Bright, Sam Goodman and Emma Grundy Haigh at marginalisedmainstream@gmail.com . Acceptances will be sent out by no later than 16 July 2012.

Conference website: http://marginalisedmainstream.wordpress.com

Facebook page: https://www.facebook.com/pages/Marginalised-Mainstream-Conference-2012/259522867458369

Please note: we are not in a position to be able to assist with conference travel or subsistence.

Appel: Popenstock: show lapin.

Appel

Popenstock

Show lapin

« Dans le film Matrix, Neo doit suivre un lapin blanc s’il veut découvrir ce qu’est la matrice, soit l’interface langagière dans laquelle il se trouve. Sans nul doute, il y a là des traces du lapin d’Alice au pays des merveilles, celui-là même qui creuse le trou dans lequel Alice tombe avant de se retrouver dans le monde merveilleux de l’imaginaire. Par l’entremise de son terrier, le lapin est d’ailleurs un animal qui fait constamment le passage entre un monde intérieur et extérieur. »

— Francis Gauvin, groupe de recherche de l’Observatoire de l’imaginaire contemporain III, 2011-2012, Université du Québec à Montréal.

Le dossier Show lapin qui est lancé dans POP-EN-STOCK invite des textes consacrés à la figure du lapin dans la culture populaire contemporaine. Le dossier a pour objectif de décrire et d’analyser les manifestations du lapin comme élément marquant des domaines littéraire, médiatique et artistique. Il s’agira d’étudier les variantes esthétiques et conceptuelles du lapin. Vous pouvez nous envoyez vos courtes contributions pour ce dossier dès aujourd’hui.

Pour ouvrir ce dossier, le groupe de recherche de l’Observatoire de l’Imaginaire Contemporain (l’OIC) en association avec le laboratoire NT2, l’équipe de recherche Éric Lint, le centre de recherche Figura et la revue POP-EN-STOCK ont organisé un Show lapin, le 5 avril 2012, au laboratoire NT2 à l’Université du Québec à Montréal.  Les premiers résultats de recherche des représentations de la figure du lapin dans l’imaginaire collectif sont diffusés en texte et en vidéo dans la revue POP-EN-STOCK.

Les dossiers thématiques POP-EN-STOCK sont à soumission ouverte. Une fois un numéro thématique « lancé », il demeure ouvert, indéfiniment, à quiconque voudrait y soumettre une collaboration. Le(s) directeur(s) d’un dossier s’engage(nt) à évaluer et éditer les nouvelles propositions à leur dossier pour une durée de deux ans, sous la supervision des directeurs de la revue.

La longueur des articles est variable. POP-EN-STOCK accepte une limite inférieure équivalent à sept ou huit pages (3000 mots), afin de favoriser la publication rapide, mais peut aussi accepter des articles beaucoup plus longs selon l’offre (n’étant pas limitée par un

CFP: Contemporary Japanese Media Cultures: Industry, Society and Audiences Symposium (30 avril 2012)

CFP Deadline Approaching:

Contemporary Japanese Media Cultures: Industry, Society and Audiences

Symposium: 5th September 2012

This one-day Symposium on Japanese popular media investigates the significance of contemporary Japanese media to the wider industries and cultures that they serve. Although access to Japanese media cultures has never been better for those living outside Japan, there remains a dearth of analytical engagement with how the Japanese media industries function, and only patchy coverage exists of the media texts produced within Japan. Therefore, this Symposium seeks to unpack some of the complexities within the Japanese media landscape, by considering how differing media industries work in collaboration as well as in competition with one another. In doings so, the aim is to bring together speakers utilising a wide range of approaches and specialist knowledge to discuss the interconnectivity of Japan’s media industries, visible in phenomena such as cross-media adaptations, franchising practices, remakes of texts and international distribution. We also aim to complicate the notion of Japanese media industries as “national” by investigating the regional, transnational and global reach of their texts.

We seek papers examining how Japanese media, including (but not limited to) manga, anime, video games, television, magazine publishing and film operate within and beyond Japanese borders. The aim is to bring together experts able to discuss how Japanese media products get made, and why, who gets to see them (legally or otherwise) and what it is that academic explorations of Japan’s media might be able to offer the industries and cultures they study.

Topics might include (but are in no way limited to):
• Japanese media franchising
• National, regional, transnational and/or global distribution of Japanese media
• Japanese media industries
• Cross-media adaptation
• Transmedia storytelling
• Media production techniques and systems
• Cross-media genres
• New media texts
• Ancillary industries (e.g. Japanese special effects houses, animation outsourcing, voice acting, stars and their agents)
• Translation of media from Japanese to other languages
• Invisible media (e.g. texts or genres popular in Japan, but not often exported or studied)
• Popular cross-media franchises (e.g. Naruto, Bleach, One Piece, Atom Boy, Bayside Shakedown)
• Reception of Japanese media texts
• Audiences, fans and subcultures

Symposium to be held in Norwich, UK in conjunction with the University of East Anglia, the British Association of Japanese Studies and the Arts and Humanities Research Council

Papers proposals of no more than 300 words should be sent to mangamoviessymposium@gmail.com by Monday 30th April 2012. If you would like more information, please contact r.denison@uea.ac.uk.

CFP: Leisure! Enjoyment! Fun! (Deadline: October 1, 2012)

Leisure! Enjoyment! Fun!

INCS 2013 Conference, University of Virginia

March 14-17, 2013

full name / name of organization:
Interdisciplinary Nineteenth-Century Studies
contact email:
ksc3j@virginia.edu

“It was the best of times. It was the worst of times.” It was the age of pleasure. It was the age of atonement. It was any place in the nineteenth century. The scope is global, the approaches, cross-disciplinary. What pleased the palate and tickled the nose? What roused the senses and deepened joy? What thrilled the body and inspired the mind? What did they do besides work? What diversions (respectable or otherwise) did they seek? How did they think about the enjoyments they sought? These are some of the questions to address at INCS 2013, which is devoted to ‘Leisure, Enjoyment, and Fun.’

Consider all forms of enjoyment desired, sought, anticipated, or suppressed. Of course what constitutes enjoyment was widely contested ‘then’ as it is ‘now,’ and just what the relation between enjoyment and happiness is has never been clear. The task we set ourselves this year is an examination of various pleasures, thoughts about fun and leisure, expressions or reports of enjoyment, and what these experiences tell us about the nineteenth century. Definitions of enjoyment are themselves numerous and contrasting, and we will keep the field broad so as to draw a wide catch. Enjoyment may be associated with entertainment, amusement, comfort, satisfaction, happiness, absence of pain, etc. We are interested in how enjoyment is experienced, what function it serves, how it can be legislated or monitored, if it can be exhausted, repeated, repelled, and whether individual enjoyment differs from enjoyment shared.

Topics are not limited to, but might include:

Ambivalence towards . . .
Theories of leisure
Enjoyment, guilt, atonement
License and restraint
Sport, games, and races
Music, music halls, music boxes
Festivals, street entertainments
Pleasure gardens
Illicit fun
Design, fashion, shopping
Gustatory delights
Trade in exotics
Hobbies
Weddings, parties, picnics
Spectacle
Dance
Cartoons, comics, periodicals
Sunday papers and other popular reading
Pets, animal fighting
Experimentation, invention
Gardens and horticulture
Collecting
Museums, exhibitions
Training for fun
Medical Tourism

Deadline: October 1, 2012. For individual papers, send 250-word proposals; for panels, send individual 250-word proposals for each paper plus a 250-word panel description. Please include your name, affiliation, and e-mail address on your proposal. Send questions and proposals to Karen Chase (ksc3j@virginia.edu). Website (under construction): http://incs2013.wordpress.com/

CFP: Nineteenth-Century American Literature and Popular Culture – MPCA/ACA (30 avril 2012)

Nineteenth-Century American Literature and Popular Culture – MPCA/ACA

Deadline for receipt of proposals is April 30, 2012

The MPCA/ACA is seeking paper proposals that address any aspect of 19th century American popular culture for our annual conference. The 2012 conference will be held in Columbus, OH from October 12-14.

We are especially interested in papers that focus on literature and/or culture from a specific critical perspective; however, no particular approach is required. Possible topics include (but are not limited to):

– Literature
– Book History/Print Cultures
– Dime novels
– Politics
– Sports
– Religion
– Westward expansion
– Native Americans
– Women in popular culture
– Entertainment
– The Gothic

Those interested should review the information here (http://mpcaaca.org/columbus-2012/2012-cfp/) to include relevant details on their submission entry. Submissions should be made electronically via our online submission system (http://submissions.mpcaaca.org/). Deadline for receipt of proposals is April 30, 2012.

Any inquiries about this specific topic should be directed to the area chair, Patrick Prominski, Department of English, Michigan State University – promins2@msu.edu.

For more information on the conference and the MPCA/MACA, please visit the mpca website http://www.mpcaaca.org/

Beauté fatale. Les nouveaux visages d’une aliénation féminine de Mona Chollet

Beauté Fatale. Les nouveaux visages d’une aliénation féminine

Mona Chollet

Soutiens-gorge rembourrés pour fillettes, obsession de la minceur, banalisation de la chirurgie esthétique, prescription insistante du port de la jupe comme symbole de libération : la « tyrannie du look » affirme aujourd’hui son emprise pour imposer la féminité la plus stéréotypée. Décortiquant presse féminine, discours publicitaires, blogs, séries télévisées, témoignages de mannequins et enquêtes sociologiques, Mona Chollet montre dans ce livre comment les industries du « complexe mode-beauté» travaillent à maintenir, sur un mode insidieux et séduisant, la logique sexiste au coeur de la sphère culturelle.
Sous le prétendu culte de la beauté prospère une haine de soi et de son corps, entretenue par le matraquage de normes inatteignables. Un processus d’autodévalorisation qui alimente une anxiété constante au sujet du physique en même temps qu’il condamne les femmes à ne pas savoir exister autrement que par la séduction, les enfermant dans un état de subordination permanente. En ce sens, la question du corps pourrait bien constituer la clé d’une avancée des droits des femmes sur tous les autres plans, de la lutte contre les violences à celle contre les inégalités au travail.

Introduction
1. Et les vaches seront bien gardées. L’injonction à la féminité
Pour des femmes en jupe et des hommes qui en ont
Le charme retrouvé des territoires féminins
« N’exister que par la beauté»
Backlash et marketing
Fermer des portes pour l’avenir
2. Un héritage embarrassant. Interlude sur l’ambivalence
« Avec quoi elle vient ! »
Sagesse de la parure
L’univers en modèle réduit
Derrière la fascination du it bag
Congédier le monde
3. Le triomphe des otaries. Les prétentions culturelles du complexe mode-beauté
« Il faut faire un effort, Jenn’ ! »
Actrices ou communicantes ?
Le paradigme Gossip Girl
L’aristocratie du showbiz
Les marques en terrain conquis
Patauger dans son aliénation
Les femmes et la culture de masse
Une « fin de l’Histoire » au féminin ?
4. Une femmes disparaît. L’obsession de la minceur, un « désordre culturel »
Exister sans corps
Femmes et nourriture, un rendez-vous toujours manqué
L’anorexique : anormale ou trop normale ?
Un modèle impossible
Hypocrisie et perversité
Couper les ponts
Une question de santé ?
5. La fiancée de Frankenstein. Culte du corps ou haine du corps ?
Nier la douleur
Un couteau sans lame…
Un éclairage impitoyable
L’aura confisquée
« Ce qui me fait chanter »
Le piège de l’homologation
Une merveilleuse « liberté de choix »
6. Commnet peut-on ne pas être blanche ? Derrière l’ode à la « diversité»
S’afficher dans le camp des gagnants
Soigner les corps « dégénérés »
« Illuminer les recoins sombres de la Terre »
« Suprématie blanche » dans la mode
Une créativitéétouffée
La lumière, encore
7. Le soliloque du dominant. La féminité comme subordination
Yohji Yamamoto contre le « style recherche d’emploi »
Les femmes sont-elles des objets ?
Grands hommes et petites pépées
Banalité du Pygmalion lubrique
Un érotisme de ventriloques
L’horreur : une femme qui pense

Mona Chollet, Beauté fatale. Les nouveaux visages d’une aliénation féminine, La Découverte, 2012.

Parution: Raphaèle Fleury Paul Claudel et les spectacles populaires; Le paradoxe du pantin

Raphaèle Fleury
Paul Claudel et les spectacles populaires. Le paradoxe du pantin

Classiques Garnier, “Études de littérature des XXe et XXIe siècles”, 2012.

À travers une enquête sur les contacts de Claudel avec les spectacles populaires et l’analyse des mises en œuvre qu’il imagine, cet ouvrage montre que le dramaturge réinvestit symboliquement ces formes, mais aussi qu’il les utilise pour une plus grande efficacité de son théâtre. L’adresse à la salle et le spectaculaire témoignent de la confiance de l’auteur catholique dans la capacité de la matière à véhiculer le sens. Mais la séduction qu’ils exercent fait courir le risque d’un rapport idolâtre au spectacle, risque que Claudel met en scène et s’attache à contrôler.

CFP Motley 2012 Redefining the Dominant Discourse of Popular Culture (1e avril 2012)

CFP

Motley 2012

Redefining the Dominant Discourse of Popular Culture

“Popular art is the dream of society; it does not examine itself.”

–Margaret Atwood

The Students of English Studies Association (SESA) of California State University, Fresno, in collaboration with Rasquache, and the Chicano Writers and Artists Association (CWAA), announces its call for papers for the 2011-2012 publication of Motley.

We welcome papers related to the theme:

Diversity/Redefining the Dominant Discourse of Popular Culture

In recent years, popular culture has come to be considered a valid and fruitful point of academic inquiry, helping to infuse more established disciplines, including English studies, with fresh life. Scholars have become increasingly aware of the broader implications of popular culture, which encompasses such diverse media as magazines, books, film, television, comic books/graphic novels, and internet content, for discourses mis/unrepresented or marginalized within the mainstream.

The mainstream, whatever ‘norms’ it actively portrays through popular culture, may perhaps be best described as an intricate matrix of discourses that corresponds to specific interests and that possesses varying types and amounts of sociopolitical agency. Some discourses are, for complex reasons, more socially influential or dominant than others and these discourses tend to govern culture as a whole from the vista of a certain ‘gaze’ that has more to do with the experience and values of that particular discourse community, and an attempt to preserve these values, than any effort toward true verisimilitude with the diverse experiences of individuals potentially outside or excluded from this governing group. We consciously and unconsciously function, as students, as scholars, as teachers, and as participants within this discourse, so that our writing and our self-expression is indefinitely engaged from a perspective that promises inclusion for all but often fails to recognize nuances in subjective experience along the lines of ethnic culture, spirituality, gender, sexuality, and language as relates to normalized popular narratives of belonging. So, what changes when such a gaze is shifted, when ownership and authority is (re)claimed by voices that have long been silenced or marginalized?

We invite academic papers and creative works on a variety of topics within this theme, including but not limited to:

*The role of popular media in the construction of cultures, identities, and place
*“Subversive” texts that generate space for previously silenced voices to speak
*Tensions, contradictions and conflicts of identity formation and social membership brought about by popular culture
*Analysis of popular or canon texts that speak to the marginalization or silencing of specific groups within literature.
*Responses/revisions to mis/representations of marginalized peoples in popular media texts (news, visual art/advertising, films/television, books, comics, etc.).
*Challenges we face in (re)defining academia and the literary canon and what methods we employ to subvert them
*Rhetorics used to challenge the dominant, interdependent gazes of pop culture and academia
*Ways in which the perspectives and/or presence of students from marginalized or underrepresented communities challenges and redefines academia.
*Our reflective processes in redirecting the gaze to consider ourselves as students and participants in a broader community of scholars
*Production and reproduction of cultural typing and stereotyping and implications thereof for mainstream culture
*How artistic expression can create a sense of belonging and validation for marginalized voices within the rigid and impenetrable, often markedly visual constructions of culture in art and media
*The complex intersections between our academic communities and popular culture, and how these elements work to (re)shape our pedagogies
*Pedagogies that reflect our perceived responsibilities to others largely underrepresented/misrepresented in pop culture and academia

We also welcome papers and creative works (creative writing, art/photography, video, short film) on relevant topics, not directly addressed above, that significantly engage disciplines other than English Studies and that have consequences for communities located outside of the academy.

Please e-mail submissions to motleyjournalcsuf@gmail.com by April 1st, 2012.

*Graduate and undergraduate students, as well as faculty, are encouraged to submit work to the journal.

Visit us at: http://motleyjournal.wordpress.com/

CFP: Popular Romance (30 avril 2012)

Call for Papers: Popular Romance


2012 Midwest Popular Culture Association/American Culture Association Conference
Friday-Sunday, October 12-14, 2012
Columbus, OH
Renaissance Columbus Downtown Hotel
(Conference info: http://www.mpcaaca.org)

Deadline for submission: April 30, 2012.

The most prevalent narrative structure of popular romance is an integral element of any story, regardless of forum: film, television, fiction, manga, advertising. Not only is romance exceptionally popular, it is so pervasive as to become ordinary and overlooked. As the popularity of romance increases, so too does the need for serious scholarship of the genre in all its incarnations. We are interested in any and all topics about or related to popular romance and its representations in popular culture (fiction, stage, screen—large or small, commercial, advertising, music, song, dance, online, real life, etc.)

Proposals may be for individual papers or 3-person panels.

Topics can include, but are not limited to:
• critical approaches, such as readings informed by critical race theory, queer theory, postcolonial studies, or empirical science
• depictions in the media and popular culture (e.g., film, television, literature, comics)
• literature and fiction (genre romance, poetry, animé)
• types of relationships (marriage, gay and lesbian)
• historical practices and traditions of and in romance
• regional and geographic pressures and influences (southern, Caribbean)
• material culture (valentines, foods, fashions)
• folklore and mythologies
• jokes and humor
• romantic love in political discourse (capitalism)
• psychological approaches toward romantic attraction
• emotional and sexual desire
• subcultures: age (seniors, adolescents), multi-ethnic, inter-racial
• individual creative producers or texts of popular romance
• gender-bending and gender-crossing

Submit a one-page (200-250 words) proposal or abstract by 30 April 2012 to Maryan Wherry, Popular Romance, http://submissions.mpcaaca.org. Please include name, affiliation, and e-mail address with your abstract. Also, please indicate in your submission whether your presentation will require a TV and DVD player. Note that LCD projectors will not be provided by MPCA/ACA.
More conference information can be found at http://www.mpcaaca.org/.
For further inquiries or concerns, please contact Romance Area Chair, Maryan Wherry, Black Hawk College, wherrym@bhc.edu.

CFP: Dracula and the Gothic in Literature, Pop Culture and the Arts.



DRACULA AND THE GOTHIC IN LITERATURE, POP CULTURE AND THE ARTS
An Interdisciplinary Colloquium at the Centenary of Bram Stoker’s death

University of Minho – Braga, Portugal
29-30 June 2012; Abstract deadline: 15 April 2012

Few literary works have had such a lasting influence on popular culture as Bram Stoker’s Dracula (1897). One hundred years after the Irish author’s death, the abundance of adaptations of the Romanian Count’s tale spans over all the arts and modes of expression. More than 200 film versions of Dracula exist, from Murnau’s inaugural 1922 Nosferatu to Coppola’s 1992 box office hit, but it is perhaps Bela Lugosi’s iconic interpretation in the 1931 horror film classic that first comes to mind. Theatre plays and musicals, as well as dance performances, also abound, making Dracula a trendy stage motif. TV adaptations are countless and even a remarkable radio version of Stoker’s story by Orson Welles (1938) is on record. Stoker’s character also features in such diverse media as video games, cartoons, comics, anime and manga.

In literature, the Gothic – a combination of horror, romance and melodrama in supernatural plots – can be traced back to Walpole’s 1764 The Castle of Otranto, A Gothic story, and the vampire theme also bears a Romantic matrix: Lord Byron’s epic poem “The Giaour” (1813), Coleridge’s “Christabel” (1816) and John W. Polidori’s short story The Vampyre (1819), not to mention Mary Shelley’s Frankenstein (1818), all present undead creatures as their uncanny protagonists. After Elizabeth C. Grey’s influential story The Skeleton Count (1828), two Victorian milestones are Varney the Vampire (1847), attributed to James M. Rymer, and Sheridan le Fanu’s novella Carmilla (1872). In the 20th century, Gothic and vampire fiction proliferated, with such authors as Algernon Blackwood, William H. Hodgson, M. R. James and, of course, H.P. Lovecraft, the most reputed writer of ‘cosmic horror’. To this day a steady production flow, which ranges from Richard Matheson to best-selling Stephen King, bears witness to Stoker’s ‘undying’ impact.

This interdisciplinary colloquium seeks to reappraise the multimodal and multimedia adaptations of Stoker’s Dracula, in their literary, cinematic, theatrical, televised, and computerized facets, as well as the origins, evolution, imagery, mythology, theory and criticism of Gothic fiction and of the Gothic (sub)culture. We welcome contributions for 20-minute papers in English on any aspect of Bram Stoker’s legacy, as well as on Gothic / horror / supernatural manifestations in literature, pop culture and the arts.

Possible topics include (but are not restricted to):
• Stoker’s Dracula in its social, cultural and political environment
• Gothic forerunners: Horace Walpole, Clara Reeve, Ann Radcliffe
• Romanticism, melodrama and the supernatural
• Victorian Gothic: from Dickens to the Brontës
• Fin-de-siècle revival of the Gothic: Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886) and Oscar Wilde’s The Picture of Dorian Gray (1891).
• Stoker abroad: issues of reception and translation of Dracula around the world
• Female Gothic romance in the 20th century: Phyllis A Whitney, Victoria Holt, Joan Aiken, Barbara Michaels
• Southern Gothic: Carson McCullers, Flannery O’Connor, Tennessee Williams, William Faulkner
• Present-day horror: from Anne Rice to Stephen King
• Language and style in Gothic literature
• Gothic imagery, Gothic bodies and Gothic monsters
• Dracula on film and stage
• Dracula and Gothic motifs in cartoons and comics
• Gothic fiction and the struggles between “high” and “popular” culture
• Satirizing the Gothic: parody and humor
• Transgressive sexuality in vampire fiction
• Post-colonial perspectives on the vampire legend: from Nalo Hopkinson to Tananarive Due
• Feminist reworkings of vampire fiction
• Vampirism and the teenage vampire craze of the 21st century

Abstracts of 250-300 words, including full title of paper, name of speaker, institutional affiliation and position, a bio-sketch and contact details (postal address and e-mail address), should be sent as Word attachments to Prof. Isabel Ermida at colloquiumonthegothic@gmail.com. E-mails should be titled: “Colloquium on the Gothic”.

Important dates:
• Deadline for submission of proposals: 15 April 2012
• Notification of acceptance: 30 April 2012
• Registration: 1 May 2012 – 31 May 2012
• Registration fees: Delegates: 60 euros /Students: 20 euros
• Late registration (1 June–15 June 2012): Delegates: 80 euros / Students: 25 euros

Please note: Delegates failing to register before the deadline cannot be included in the programme.

Organizing Committee:
• Isabel Ermida (Chair)
• Anabela Rato
• Amélia Carvalho
• Jaime Costa
• Salomé Osório

This International Colloquium is hosted by DEINA (Department of English and North-American Studies) and supported by CEHUM (Center for Humanistic Studies) and ILCH (Institute of Arts and Humanities) of the University of Minho at Braga, Portugal.

All speakers are responsible for their own travel arrangements and accommodation. Relevant information about hotels and transportation from the nearest airport (Oporto) is provided on the colloquium website.

Updated information at: http://sites.google.com/site/laipax/.