Archives par mot-clé : popular culture

Appel à contributions : Making a Murderer: True Crime in Contemporary American Popular Culture

deadline for submissions: 
January 31, 2021
full name / name of organization: 
Crime Fiction Studies
contact email: 

“Everybody’s fascinated with the notion that there is a cause and effect,” claims notorious serial killer Ted Bundy, quoted in the Netflix original, Conversations with a Killer: The Ted Bundy Tapes (2019) – that we can “put our finger on it,” and reassuringly rationalise the genesis of the uniquely modern phenomenon of the American serial killer. But when there is “absolutely nothing” in the background of a serial murderer that would lead one to believe they were “capable of committing murder,” how do we begin to acclimatise ourselves to this violent defect of contemporary history? More challengingly, how do we bring depth to our collective portrait of what constitutes a murderer, so that we may then self-exempt our compulsion to look more closely at these perversely familiar figures?

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Nineteenth-Century Transmedia Practices

Type: Call for Papers
Date: January 30, 2020 to February 1, 2020
Subject Fields: Popular Culture Studies, Journalism and Media Studies, Literature, Cultural History / Studies, Art, Art History & Visual Studies

CFP, International Symposium: “Nineteenth-Century Transmedia Practices”

30th January – 1st February 2020

University of Vienna, Austria

Organizers: Univ.-Prof. Dr. Monika Pietrzak-Franger (University of Vienna, Austria) and Prof. Dr. Christina Meyer (FU Berlin, Germany)

The notion that media content can proliferate and that consumption practices converge has given rise to a host of fascinating research projects in and outside of academia in the past years. Next to pedagogy, literary and cultural studies, such disciplines as economics, film and media studies along with legal studies have begun to trace, analyze and interpret various patterns and practices of transmediality. Simultaneously, numerous (globally operating) transmedia consulting companies began to invest in transmediality as a central marketing strategy (M.-L. Ryan 2017). In general, scholarship on transmediality has tended to focus on contemporary participatory media practices and media convergences in a networked culture (e.g. Jenkins, Ford, and Green 2013) along with addressing various principles of storytelling (cf. H. Jenkins 2008; M. Freeman 2017, 2018; M.-L. Ryan & J.-N. Thon 2014; etc.). In the meantime, some efforts have been made to trace historical developments and cultural specificities in transmedia practices (esp. Freeman 2014, 2016), very few of these, however, went beyond the beginnings of the 20th century.

This conference aims to instead focus on the historicity of transmedia practices, with particular focus on the long nineteenth century (roughly from 1780 to 1920), a century that famously saw the birth of the mass media and brought the “frenzy of the visible” (J.-L. Comolli 1980). We understand practices not just as activities or performative acts of an individual, or a human being, but of ‘transpersonal” institutions (such as clubs, libraries, academies, advertising companies, syndicates, etc.). We thus read practices as forms and ways of actions, agency and performance that are discursive and systemic (networked) rather than as isolated acts. Moreover, the conference is interested in how specific content(s) in multiple media that stay recognizably the same dispersed across cultures in a time before digital convergence. Tracing the processes, economics and technologies involved in transmedia practices and the aesthetics of expansion and transgression in the long nineteenth century will allow for an enhanced understanding of specific configurations in the past and reconfigurations in our present moment. We are interested in contributions, both case studies that may act as models for specific developments as well as more theory-driven investigations, that address questions like:

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CFP : The Craft Economy, edited volume

The Craft Economy edited volume

Call for papers — abstract proposals due 31 July 2014


The Craft Economy: Making, Materiality and Meaning

edited by Susan Luckman (University of South Australia) & Nicola Thomas (University of Exeter)


A making renaissance is underway with handmade practice and goods in global demand. Thus the central aim of The Craft Economy collection is to bring together a comprehensive account of the current moment of growth in the contemporary handmade marketplace. We wish to examine the reasons why we are now seeing such significant growth, and identify the key drivers – both in terms of production and consumption. Importantly, we seek to locate this discussion within the larger picture of its implications for our understandings of the contemporary cultural economy. For example, what it may reveal about perceptions of authenticity and practices of ethical consumption, as well as shifting labour and production models (creative micro-enterprise; the home-based digital cultural economy; the attraction of entrepreneurial self-employment; and the gendering of craft work).

In the digital age, almost seventy years since the Frankfurt School first railed against the culture industry’s commodification and standardisation of all art, the bespoke ‘analogue’ physical item becomes Othered, different, desirable. Handmade objects are imbrued with touch, and therefore offer a sense of the ‘authentic’ in an ‘inauthentic’ world: they offer connection to the maker through the skill and learning apparent in their construction, and they demonstrate the time spent on their making in a way in most other objects cannot. Handmade cultural goods thus need to be located within wider debates regarding ethical consumption, makings, and ‘retro’ interest in unique physical artefacts.


In dialogue with this, the integration of digitally enabling technology with more traditional practices of making is a key trend transforming social and material relations between makers and consumers. Alongside more traditional retail options such as direct and commission sales, online distribution is changing the environment for operating a creative micro-enterprise, offering both creative graduates and more established designer-makers micro-entrepreneurial pathways not previously open to them. Alternative making spaces (for example Makerspaces and FabLabs) are transforming access to making, and the integration of digital technologies into the making process.


Therefore we welcome proposals for papers that address any aspect of the contemporary craft economy, especially (but certainly not limited to) the following:

  • Craft as a 21st century creative industry;
  • Craft work as a model for wider cultural work practice;
  • Spatialities of craft: relations of making, places of making;
  • The politics of home-based production and studio/workshop production models;
  • New places of making: practices within Fablabs and Makerspaces;
  • Craft apprenticeships, bench training, learning and skills development;
  • Craft education and the contemporary curriculum;
  • Social inclusion/exclusion, micro-entrepreneurialism and the contemporary craft economy;
  • Vibrant materiality and craft objects and practice;
  • Materiality, authenticity and the handmade;
  • Craft making, flow and ‘being in the zone’;
  • The ongoing resonance of binaries such as: professional/amateur; art/craft; producer/consumer; technology/hand;
  • Making and intersections with policy: regeneration through return to making;
  • Collectivisation, support organisations, guilds and cooperative practices;
  • Online identity work, self-marketing and art/craft production;
  • ‘Technology’ versus ‘ handmade’ – scale, growth and the place of tools in the making process;
  • Digital making and new models of making;
  • Lab cultures,  community / social enterprise models;
  • Craft, tourism and place-making;
  • Craft co-creation and lessons for contemporary making from the history of patronage and commissioned work;
  • Craft and ethical production/consumption;
  • Craft as means of economising.


Proposals: Please send proposals to both editors by 31 July 2014. Proposal should include: title, abstract of up to 500 words, institutional affiliation, and short biographical details for author.


Provisional acceptance will be advised by 30 September 2014.


About the editors:


Susan Luckman ( is Associate Professor in Cultural Studies at the University of South Australia. Her books include the forthcoming title Craft and the Creative Economy (Palgrave Macmillan 2015), Locating Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity (Palgrave Macmillan 2012), and Sonic Synergies: Music, Identity, Technology and Community (Ashgate 2008, co-edited with Gerry Bloustien and Margaret Peters).


Nicola Thomas ( is Senior Lecturer in Cultural Geography at the University of Exeter. She works on the cultures of the creative economy, specifically addressing the geographies of the craft sector. Her recent AHRC funded research includes an analysis of the enduring place of regional craft guilds, communities of making, and relations between craft policy and practice. Her research has been undertaken in partnership with Devon Guild of Craftsmen, Gloucestershire Guild of Craftsmen, Crafts Council, Craftspace, Heritage Crafts Association and Leach Pottery. Published work includes ‘Crafting the Region: Creative Industries and Practices of Regional Space’ (Regional Studies, 2012, with Harriet Hawkins and David C. Harvey).


“Pursuing the Trivial”, new thematic section from Culture Unbound

New thematic section from Culture Unbound: “Pursuing the Trivial”

Culture Unbound: Journal of Current Cultural Research has published a new thematic section entitled “Pursuing the Trivial”, edited by Roman Horak, Barbara Maly, Eva Schörgenhuber and Monika Seidl. It addresses the social significance of popular culture, past and present, and analyses how the seemingly trivial shape our daily lives and therefore our perception of the world. The articles cover areas such as popular culture of early 20th century, sports and racism, the philosophy of outdoor recreation, contemporary film and literature, and the everyday use of new technology.

Featured articles are:

  • Barbara Maly, Roman Horak, Eva Schörgenhuber & Monika Seidl, “Introduction: Pursuing the Trivial”
  • Steven Gerrard, “The Great British Music Hall: Its importance to British culture and ‘The Trivial’”
  • Roman Horak, “‘We Have Become Niggers!’: Josephine Baker as a Threat to Viennese Culture”
  • Yi Chen, “’Walking With’: A Rhythmanalysis of London’s East End”
  • Georg Drennig, “Taking a Hike and Hucking the Stout: The Troublesome Legacy of the Sublime in Outdoor Recreation”
  • Anna König, “A Stitch in Time: Changing Cultural Constructions of Craft and Mending”
  • Daniel Kilvington, “British Asians, Covert Racism and Exclusion in English Professional Football”
  • Sabine Harrer, “From Losing to Loss: Exploring the Expressive Capacities of Videogames Beyond Death as Failure”
  • Georg Spitaler, “Narrated Political Theory: Theorizing Pop Culture in Dietmar Dath’s Novel Für immer in Honig
  • Katharina Andres, “’Fashion’s Final Frontier’: The Correlation of Gender Roles and Fashion in Star Trek
  • Timo Kaerlein, “Playing with Personal Media: On an Epistemology of Ignorance”
  • Kati Voigt, “Becoming Trivial: The Book Trailer”

You can access all articles for free at:

Culture Unbound: Journal of Current Cultural research is an open access e-journal that seeks to be a forum for contemporary, cutting edge cultural research from a wide range of disciplinary and interdisciplinary areas. We also welcome new article manuscripts in all areas of cultural research, as well as proposals for future theme sections.

Call for papers : Holy Crap! Intersections of the Popular and the Sacred in Youth Cultures (28–29 August 2014, Helsinki, Finland)

Holy Crap!

Intersections of the Popular and the Sacred in Youth Cultures

28–29 August 2014, Helsinki, Finland

2nd Call for Papers and Sessions

Holy Crap! is an international conference organised by the Finnish Youth Research Society and Network, focusing on the interrelations between popular culture, youth and the sacred. The conference aims at interrogating understandings of popular and youth cultures in relation to the contested phenomena of (post)secularisation, re-enchantment and the emergence of alternative spiritualities.

The conference organisers are happy to note that Prof Matt Hills, Dr Clive March and Prof Carolyn Marvin have accepted the invitation to participate in the conference as keynote speakers.

The conference organisers invite proposals for either complete 90 minute sessions or individual 30 minute presentations. The general theme of the conference may be approached from within any discipline or methodology.

The proposals should be submitted via email, preferably as an attachment in doc/pdf/rtf format, to Antti-Ville Kärjä ( no later than 15 January 2014. Notifications of acceptance will be sent by Friday 31 January 2014.

Proposals should include the following information:

  • name(s) and affiliation(s) of the presenter(s);
  • the title of the presentation/session;
  • an abstract of no more than 200 words for a 30 minute presentation or 500 words for a 90 minute session.

For the full version of the call and further information, please visit or contact Antti-Ville Kärjä (

Sensationalism and the Genealogy of Modernity, International conference, 18-19 December 2013

The Office of the Vice President
The Lester and Sally Entin School of Humanities
The Cohn Institute for the History of the Philosophy of Science and Ideas The Philosophy Department
The Tel Aviv and Jerusalem Cinemathèques
The English and American Studies Department


Sensationalism and the Genealogy of Modernity

A two-day international conference

Day 1. December 18 2013 (Gilman room 496)

9:30-10:00 Registration

Section I. 10:00-11:00

Opening Remarks: Alberto Gabriele, English and American Studies, Tel Aviv University

James M. Brophy, University of Delaware and Berlin Academy, “Ironic Sensationalism: Popular Print Culture and Modern Political Subjectivity in Nineteenth-Century Germany”

Lee Michael-Berger, Tel Aviv University, “Hilarious Homicides: Humorous Representations of Murder in Comical Periodicals, Music Hall and Theatrical Comedies and Burlesques, London 1880-1914”

11:00-11:30 Coffee Break

Section II. 11:30:13:00 Panel Chair: Jane Katz, School of Cultural Studies, Tel Aviv University

Efraim Sicher, Ben-Gurion University of the Negev, “Dicken’s Waste Land: London as the Capital of Modernity”

Hélène Valance, Paris, “Recreative Destruction: the Spectacle of the Burning City at the Turn of the 20th Century”

Gregory Shaya, The College of Wooster, “Mayhem and Modernity: Violent Sensationalism in the French Mass Press of the Late Nineteenth Century”

13:00-14:30 Lunch

Section III. 14:30-16:00 Panel Chair: Lee Michael Berger, School of Historical Analysis, TAU

Mary Ellen Kappler, University of Toronto, “Sensationalism and Fin de Siècle Documentary Realism”

Efrat Pashut, Tel Aviv University, « Urban Perils and the Sensational Bicycle: Textual and Visual Narratives in Cycling, 1892-96 »

Stefanie Lethbridge, Albert-Ludwigs-Universität Freiburg, “The Horror of Clothing and the Clothing of Horror: Material and Meaning in the Gothic and Sensation Novels of the Long Nineteenth Century”

Section IV. 16:00-17:00 Panel Chair: Barbara Hochman, Foreign Literature and Linguistics, Ben Gurion University

Amy Garnai, Tel Aviv University and Kibbutzim College, “From Revolutionary Comedy to Melodrama: Thomas Holcroft’s The Road to Ruin in the Long Nineteenth Century”

Nicholas Daly, University College Dublin, « Melodrama, Modernity, and the Transatlantic Stage »

Conference Dinner in Jaffa and guided tour

Day 2. December 19, 2013 (Gilman room 133)

Section V. 10:00-12:00

Panel Chairs:
Ruth Amossy, French, and Analysis of Discourse, Argumentation and Rhetoric, TAU; Elana Gomel, English and American Studies, TAU

Presentation of the International Research Association for the Study of Popular Literature and Media Culture, Prof Jacques Migozzi, executive president

Jacques Migozzi, University of Limoges, “From Zigomar to Fantômas : Two Geniuses of Crime, Two Yymbols of the Sensationalist Charms of Transmedial Popular Fiction in the Belle Époque Period”

Federico Pagello, Queen’s University Belfast, “Visual Narratives before Cinema: The Wordless Comics of the 1880s”

Annemone Ligensa, University of Cologne, “Shocking Pleasures: Sensationalism in Germany and Britain around 1900”

Katharina Rein, Humboldt University, Berlin, “Burned Alive and Sawed in Half! Sensationalist Magic Tricks in the early 20th Century”

12:00-1:30 lunch break

Section VI 1:30-3:00 Panel Chair: Sonia Weiner, English and American Studies, TAU

Geertjan de Vugt – Tilburg University, the Netherlands, “Baudelaire’s Spheroid: on the Politics of Harmony”

James Glisson, Huntington Library, San Marino, California, “William James’s Theory of Art”

Katherine Boyce-Jacino, Humanities Center, Johns Hopkins University “To the Planetarium”: Astronomical Spectacle in the Modern City”

3:00-3:30 coffee break

Section VII. 3:30-5:00 Panel Chair: Efraim Sicher, Foreign Literature and Linguistics, Ben-Gurion University of the Negev

Eli Friedlander, Philosophy, TAU, « Sense, Sensibility and the Sensational in Benjamin’s Reading of Baudelaire »

Anat Messing Marcus, Cohn Institute, TAU, “Spatiality and Temporality in Benjamin and Adorno”

Ester Coen, Art History, Universitá dell’Aquila, “Urban Metaphysics: the Immaterial Objectivity in De Chrico’s Squares”

Conference Dinner in Tel Aviv and guided tour

Day 3. December 20, 2013

Closing Event: 10 p.m. Tel Aviv Cinemathèque

Screening of Amerikanka [The Jobbing Press] (76’) Dir.: Leonard Esakya. Screenplay: Viktor Shklovsky with Giorgi Mdivani and Giorgi Sturua, 1930.

The Cultures of Popular Culture, Queen's University Belfast, 13-14 December 2013

The Cultures of Popular Culture
Queen’s University Belfast
13-14 December 2013

Popular Culture has long been absent from the syllabus, eschewed by researchers and viewed condescendingly sometimes even by its most adept practitioners. It has come a long way to become the thriving academic discipline it is today. Just as the term Popular Culture describes the widest range of practices, Popular Culture Studies cover the most heterogeneous objects. While this very diversity makes it exciting as a research field, it presents a challenge in terms of methods and approaches. To promote scientific exchanges at international level, Popular Culture Studies need elements of comparability and theorization. The biennial conference of the Royal Irish Academy, hosted by the School of Modern Languages at Queen’s University Belfast, intends to offer a forum for discussion between academics, teaching and researching in the fields of Popular Cultures. It will consider the benefits of studying Popular Cultures in Modern Languages Studies and seek to map current areas of research. It presents a distinctive opportunity to discuss corpora and contrast approaches.

The forthcoming biennial conference of the Royal Irish Academy Committee for Modern Languages, Literary and Cultural Studies, on ‘The Cultures of Popular Culture’, to be hosted by the School of Modern Languages at Queen’s University Belfast on 13-14 December 2013.

The conference is organised by a committee at Queen’s University Belfast made up of Dr Tori Holmes (Spanish & Portuguese Studies), Dr Dominique Jeannerod (French Studies) and Dr Federico Pagello (Institute for Collaborative Research in the Humanities).

Plus d’informations :



9:00 – 10:00 Registration, Welcome addresses, Information on the conference (Queen’s Film Theatre (QFT), Screen 1)

Professor Janice Carruthers (Queen’s University Belfast) – Head of the School of Modern Languages
Professor Maeve Conrick (University College Dublin) – Chair, Royal Irish Academy Committee for Modern Languages, Literary and Cultural Studies

10:00-11:30: Session 1

Panel 1: Mass fictions: From literary to audiovisual narrative (QFT Screen 1)

Chair: Michael Pierse (QUB/ICRH)

  • Markus Schleich (Saarland University) – « The Dickensean Aspect » – From highbrow literature to popular TV series and back
  • Meltem Erincmen Kanoglu (Yeditepe University) – The role of Roman feuilletons on modernisation in the Constitutional Period: Study of three novels by Ahmed Midhat Efendi
  • Daniel de Zubía Fernández (NUI Maynooth) – Trash and change: Pre 1975 popular cinema

Panel 2: Crime fiction

(Creative Arts Seminar Room, ground floor, 21 University Square)

Chair: Dominique Jeannerod (QUB)

  • Casey Shoop (University of Oregon) – Broken border and moving crime scene: Reading Don Winslow after Cormac McCarthy
  • Kate Quinn (NUI Galway) – 1973 as crime scene in Chilean detective fiction
  • Andrea Hynynen (University of Turku) – Queer, gender and crime fiction in French studies: A hazardous scientific endeavour

11:30- 11:45 Coffee/Tea (QFT Screen 1)

11:45-13:00 Keynote: Professor Diana Holmes (University of Leeds) – The Way We Read Now: Popular and Middlebrow Fiction in Twenty-First Century Europe (QFT Screen 1)

13:00-14:00 Lunch (QFT Foyer)

14:00-15:45: Session 2

Panel 3: Symbolic distinctions

(University Square 11/101) Chair: Véronique Altglas (QUB)

  • Barry Nevin (NUI Galway) « Coming Soon: Arizona Jim vs. Cagoulard »: The appropriation of American popular culture by French Popular Front artists in Jean Renoir’s Le Crime de Monsieur Lange (1936)
  • Mary Harrod (King’s College, London) – Blind spots and double standards: Anomalies in the politics of cinephilic film taste in France
  • Sylvain Aquatias (Limoges University) – When popular cultures are not so popular… The example of comics art in France
  • Oliver Peterson (Southampton University) – The world of Null-A and the long front of culture: How the Independent Group was shaped by A.E. Van Vogt’s science fiction evocation of Non-Aristotelian General Semantics

Panel 4: Gender, Sexuality and the body in popular culture

(University Square 12/101)
Chair: Nigel Harkness (QUB)

  • Jean McArdle (Waterford IT) – Muscular capitalism: The re-creation of sporting identity and the shifting social paradigm of masculinity within mediated Irish Sports
  • Ranthild Salzer (Vienna University) – Popular culture, normative masculinities and the graphic narrative
  • Feryade Tokan (Yeditepe University, Istanbul) – The impact of social gender on the recognition of a homosexual celebrity in a consumer society: Viva Diva
  • Mariana Moscoso (University of California, Davis) – An(other) Marisa Merz: Problematizing the « feminized » artworks and spaces of Marisa Merz

Panel 5: Shaping identities

(University Square 10/101)

Chair: TBC

  • João de Oliveira (Paris 3 University) Popular culture in Brazil: From marginalization and repression to identity paradigm
  • Amy Fuller (Nottingham Trent University) – La Llorona and Día de los Muertos: Festivals, folklore and national identity in Mexico
  • Catherine Arthur (QUB) – Painting the past: Street art, the Geração Foun and visually representing notions of ‘East Timorese-ness’
  • Zoé Carle (Paris 3 University) – The slogans of the Egyptian revolution: Renewing the popular epic

15:45-16:15 Coffee/Tea (University Square 7/101)

16:15-17:45: Session 3

Panel 6: Otherness and difference

(University Square 11/101)

Chair: Margaret Topping (QUB)

  • Rebecca Ewart (QUB) – Translating Polynesia today: The persistence of the paradis terrestre in French travel literature
  • Burçin Çakir (Bahçeşehir University) – Foes or friends? Discourse analysis on popular images of anti-Americanism in Turkish media
  • Katerina Lawless (University of Limerick) – Constructing the ‘Other’: Construction of Russian identity in the discourse of James Bond films

Panel 7: Memory, emotion and ethics

(University Square 12/101)

Chair: Roberta Quance (QUB)

  • Erica Haas (Schiller University of Jena) – From Escape to Jersey to Dangerous Waters: The exploration of the German occupation of the Channel Islands via popular literature
  • Yianna Liatsos (University of Limerick) – Regarding the pain of others: Emplotment and the ethics of the cancer story
  • Niamh Cullen (University College Dublin) – The languages of love in late twentieth-century Italian popular culture

Panel 8: The quest for Readability

(University Square 10/101)

Chair: TBC

  • Robin Fuller (Trinity College, Dublin) – Writing in the language of reality – Franz Roh, Moholy-Nagy and the universal language of photography
  • Patricia Gwozdz (Potsdam University) – Science celebrities as icons of knowledge gossip
  • Benjamin Schaper (Oxford University) – The quest for the middle ground in German literature since 1990

18:00- 19:00 Reception (Institute for Collaborative Research in the Humanities, 18 University Square)

19:30 Conference Dinner (Deane’s at Queen’s)


9:00-10:45: Session 4

Panel 9: People’s cultures and social engineering

(QFT Screen 2)

Chair: Aaron Hunter (QUB)

  • Colleen Becker (University of London – School of Advanced Study) – Kunst fürs Volk: Genre painting as mass culture in nineteenth-century Germany
  • Duccio Colombo (University of Palermo) – Nikolai Shpanov and the evolution of Stalinist spy thriller
  • Kálai Sándor (University of Debrecen) – Perspectives on the research of Eastern European popular culture

Panel 10: Film, media and broadcasting cultures

(QFT Seminar Room) Chair: Tori Holmes (QUB)

  • Stephanie Dennison (University of Leeds) – Popular film culture in 21st-century Brazil
  • Rayya Roumanos (University of Lyon) – Redefining Middle Eastern popular culture through television shows
  • Kader Tugla (Yeditepe University) – The decline of one synthesis and the rise of another: Arabesque music and national broadcasting policy in Turkey
  • Sharon Black (QUB) – Media convergence and the young viewer: A transmedial approach to audiovisual and digital translation for children

10:45-11:00 Coffee/Tea (QFT Screen 1)

11:00-12:30, Session 5

Panel 11: Stage arts and the popular

(QFT Screen 1) Chair: TBC

  • Michael Meere (King’s College London) – The stakes of popular theatre in late renaissance France
  • Paul Murphy (QUB) – Class disparity and popular culture – A winning formula
  • Julián Rodríguez-Pardo (University of Extremadura) – Names with underlying moral patterns – The case of Wicked: The Untold Story of the Witches of Oz

Panel 12: Arenas

(QFT Seminar Room)
Chair: Gabriel Sánchez (QUB)

  • Mark McKinty (QUB) – To the bullring! The role of popular culture and figures in the birth of the modern bullfight
  • Katrine Helene Andersen (University of Copenhagen) – A revolt of the masses: Culture, democracy and modernity in early 20th-century Spain, from bullfighting to soccer games
  • Ana Peláez (Boston College, Madrid) Re-visiting the stereotypes: Bullfighting in a Spanish cultural studies classroom

12:30-13:15 Lunch(QFT Foyer)

13:15-15:00 Keynote: Professor Andrea Noble (Durham University) – Killing and Crying: The Work of the Emotion in Nineteenth Century Mexican Popular Culture (QFT Screen 1)

15:00-16:00 Close and refreshments (Institute for Collaborative Research in the Humanities, 18 University Square)